Relevant bibliographies by topics / Art, Polish – 20th century

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Polish – 20th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Art, Polish – 20th century"

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Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.
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Wójcik, Agata. "Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland." Ikonotheka 28 (August 6, 2019): 67–95. http://dx.doi.org/10.5604/01.3001.0013.3344.

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Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively copy its decorative motifs. His study of folk craft persuaded him to simplify the forms of pieces of furniture and to experiment with the use of colour in furniture design and interior decoration. Later, his search for a national style encouraged him to seek inspiration in Biedermeier furniture design, which added elegance to his designs, as evident in the proportions of the pieces of furniture and in the use of decorative veneers or sophisticated geometric ornaments. In this manner Trojanowski, while following his own artistic path, developed forms of furniture that effortlessly bear comparison with the avant-garde designs of the Modernist geometric current, as proposed by the Wiener Werkstätte and the Werkbund, which heralded the arrival of Art Déco.
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Szymanowicz, Maciej. "W poszukiwaniu „narodowości w fotografice”." Artium Quaestiones, no. 28 (May 22, 2018): 65–86. http://dx.doi.org/10.14746/aq.2017.28.3.

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In Search for the “National Features in Photography” Summary The main point of the paper is the interest of Polish photographers in nationalist ideas, which has long been one of the forgotten and overlooked episodes in the history of twentieth-century Polish photography. The issue appeared for the first time in 1931-1933, when Polish photographic magazines published a debate about revealing national traits in a photo. It was an aftermath of the idea of the national style in Polish art, promoted since the early 1920s in relation to the needs of the state that just became independent. The greatest authorities of the time took part in the debate, including Jan Bułhak, Józef Świtkowski, Jan Sunderland, and Antoni Wieczorek, who were the main theorists of the Polish photography in the early 20th century. Analyzing the problem, they reverted to various arguments, from purely formal ones, assuming a characteristic tendency of Polish artists to choose particular forms and types of composition (a view based on the theory of pictorialism), through thematic (referring to collective memory and the historical experience of Poles), sociological, and even legal (based on the ideas of Leon Petrażycki). The same arguments were often used later throughout the century. The paper presents the development and theoretical basis of the debate in the early 1930s, as well as later evolution of the concepts which, coined at that time, contributed to the theory of Polish photography in the 20th century.
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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Shaidurov, Vladimir. "The Siberian Polonia in the second half of the 19th - early 20th century in the Polish historiography." Przegląd Wschodnioeuropejski 8, no. 1 (2018): 11–20. http://dx.doi.org/10.31648/pw.3600.

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The period between the 19th – early 20th century witnessed waves of actively forming Polish communities in Russia’s rural areas. A major factor that contributed to the process was the repressive policy by the Russian Empire towards those involved in the Polish national liberation and revolutionary movement. Large communities were founded in Siberia, the Volga region, Caucasus, and European North of Russia (Arkhangelsk). One of the largest communities emerged in Siberia. By the early 20th century, the Polonia in the region consisted of tens of thousands of people. The Polish population was engaged in Siberia’s economic life and was an important stakeholder in business. Among the most well-known Polish-Siberian entrepreneurs was Alfons Poklewski-Koziell who was called the “Vodka King of Siberia” by his contemporaries. Poles, who returned from Siberian exile and penal labor, left recollections of their staying in Siberia or notes on the region starting already from the middle of the 19th century. It was this literature that was the main source of information about the life of the Siberian full for a long time. Exile undoubtedly became a significant factor that was responsible for Russia’s negative image in the historical memory of Poles. This was reflected in publications based on the martyrological approach in the Polish historiography. Glorification of the struggle of Poles to restore their statehood was a central standpoint adopted not only in memoirs, but also in scientific studies that appeared the second half of the 19th – early 20th century. The martyrological approach dominated the Polish historiography until 1970s. It was not until the late 20th century that serious scientific research started utilizing the civilizational approach, which broke the mold of the Polish historical science. This is currently a leading approach. This enables us to objectively reconstruct the history of the Siberian Polonia in the imperial period of the Russian history. The article is intended to analyze publications by Polish authors on the history of the Polish community in Siberia the 19th – early 20th century. It focuses on memoirs and research works, which had an impact on the reconstruction of the Siberian Polonia’s history. The paper is written using the retrospective, genetic, and comparative methods.re.
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Bernatowicz, Piotr. "Piotr Piotrowski Awangarda w cieniu Jałty. Sztuka w Europie środkowo-wschodniej w latach 1945–89 (Avant-Garde in the Shadow of Yalta. Art in East-Central Europe, 1945–1989) 2005." Nordlit 11, no. 1 (2007): 293. http://dx.doi.org/10.7557/13.1788.

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Mieczysław Porębski, a distinguished Polish art historian of the 20th century, once expressed the demand for Polish art history to be researched simultaneously with foreign studies - as parallel fields. "We entered the research field of the old masters' art as partners in, so to say, a ‘furnished household', whereas in the field of contemporary art we are co-explorers, exploring a ‘virgin land'", as Porębski put it. The book by professor Piotr Piotrowski Awangarda w cieniu Jałty. Sztuka w Europie środkowo-wschodniej w latach 1945-89 (The Avant-Garde in the Shadow of Yalta. The Art in East-Central Europe, 1945-1989) fully accomplishes this demanding postulate which nowadays seems to be rather rarely remembered by Polish art historians. The explored area, the East-Central European countries, which emerged, as a result of the Yalta Conference, between the iron curtain and the border of The Soviet Union (including former Yugoslavia) appears at least as an ‘old maiden' land, where scientific penetration still seems to be necessary.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Waszkiel,, Marek. "The Director in Puppet Theatre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 180–88. http://dx.doi.org/10.34064/khnum1-51.10.

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In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of particular creators, also endured for longer. This profession was slow in developing. Today, it is the director that rules supreme in a puppet theatre. But we are still taking about directorial space delineated a few decades ago. In practice, Polish directors are still convinced today that theatre is intended to tell stories. This process eliminates puppetry as an independently existing art based primarily on the abilities of the craftsmen; on the miracle of animating a lifeless object, a puppet, whose magical life has so much to offer the spectators. On the contrary, axis of this process stand the artists who see the meaning of their theatrical expression in bring lifeless matter to life. This – when puppet theatre is, after all, a show; it is visual art in motion, not storytelling.
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Parafianowicz, Ryszard. "Operational Warfare in War College and War Studies University." Kwartalnik "Bellona" 697, no. 2 (2019): 17–29. http://dx.doi.org/10.5604/01.3001.0013.3624.

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Having own operational warfare based on deeply rooted domestic military culture and positively verified combat cases, being now historical experiences inspiring next generations, is one of the foundations of the armed forces. Polish art of war in the 20th century developed freely in the Second Republic of Poland: it was a period, when the foundations for Polish operational art were established. Poland, in consequence of a betrayal by its western allies, after World War II found itself in the Soviet zone of influences, and this meant breaking up with the achievements of the Second Republic of Poland, including the art of war. Regaining Independence at the break of 1989/1990 was a distinct turning point in the development of the art of war, and meant the necessity to search for new solutions adequate for the challenges stemming from contemporary geopolitical location, as well as from its defense self-sufficiency. This required a new outlook on operational warfare. The following turning point was the membership in North-Atlantic Alliance and the participation of the Polish Armed Forces in stabilization operations in the Balkans, Iraq, and Afghanistan. Both in the Second Republic of Poland and today, military education of command and staff professionals had a significant impact on Polish operational art.
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Dissertations / Theses on the topic "Art, Polish – 20th century"

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Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.

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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Devillez, Virginie. "L'Etat et les artistes: entre révolution et réaction, les politiques culturelles de la Belgique (1918-1944)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211733.

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Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.

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L’Aracine est une association loi de 1901 créée en 1982 à l’initiative de Madeleine Lommel en collaboration avec Michel Nedjar et Claire Teller dans le but de rassembler, de conserver et d’exposer une collection d’art brut publique en France. Conçue comme un hommage aux recherches de l’artiste Jean Dubuffet, cette collection – offerte en 1999 au musée d’Art moderne de Villeneuve-d’Ascq – constitue un rare essai de légitimation et de patrimonialisation de l’art brut. Cette thèse, histoire d’une association, d’une collecte et d’une collection, propose de revenir aux origines et aux développements de l’association L’Aracine, en mettant en lumière le rôle joué par des non-professionnels de l’art dans la constitution d’un patrimoine du XXe siècle<br>L’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
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Kyeyune, George William. "Art in Uganda in the 20th century." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.

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Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Kaufman, David B. "Polish-Jewish relations during the rebirth of Poland, November 1918-June 28, 1919." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/199.

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This study examines Polish-Jewish relations during the pivotal eight months between the declaration of Polish Independence on November 11, 1918 and the formal re-establishment of the Polish state by its recognition by the Allied and Associated Powers at the Paris Peace Conference on June 28, 1919. The thesis explores the background to Polish-Jewish relations in the years immediately preceding the period under investigation in order to place the events in their political and socio-economic context. The key to the present study is a detailed examination of the controversial anti-Jewish outrages that occurred in the disputed Russo-Polish-Ukrainian borderlands, namely in Lwów in November 1918, and at Pińsk in April 1919. It is important not only to scrutinise these events in detail, but furthermore to place them in their full international perspective. The direct result was the imposition of a Minorities Treaty upon Poland, which was largely drafted during the final months of the Peace Conference. Polish anti-Jewish violence was not the only factor that influenced the Allies gathered at Versailles, yet the peacemakers felt compelled to treat Poland as a special case. The Treaty further strained the interdependent links between Poles and Jews, both in Poland and the west, as the dominant group saw it as an unfair limitation on its sovereignty. Polish resentment at the perceived influence of ‘international Jewry’ further heightened tensions between the two, yet the drafting of the Minorities Treaty was emphatically not as a result of the ‘Jewish lobby’ (which was in fact divided) that had gathered in the French capital in an attempt to further Jewish demands in both Eastern Europe and Palestine. The damage done to Polish-Jewish relationships during the crucial period of 1918-1919 not only strained interaction between those groups in the months covered by the thesis, but also exacerbated the Jewish ‘problem’ during the course of the Second Polish Republic and beyond.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Books on the topic "Art, Polish – 20th century"

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Krakowie, Muzeum Narodowe w. Gallery of 20th Century Polish Art: Guidebook. The National Museum in Cracow, 2008.

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Zagrodzki, Janusz. The Gallery of 20th-century Polish art, until 1949: Guide. National Museum in Warsaw, 1995.

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Olszewski, Andrzej K. An outline history of Polish 20th century art and architecture. Interpress Publishers, 1989.

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Warszawie, Muzeum Narodowe w. Galeria sztuki XX wieku: Odsłony kolekcji 1945-1955 = Gallery of 20th century art : uncovering the collection in 1945-1955. Muzeum Narodowe w Warszawie, 2007.

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Rypson, Piotr. Books and pages: Polish avant-garde and artists' books in the 20th century. Center for Contemporary Art, 2000.

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Krakowie, Muzeum Narodowe w., and National Gallery of Modern Art (Bombay, India), eds. Oblicza wolności: Z polskiej sztuki XX wieku = Faces of freedom : Polish art of the 20th century. Muzeum Narodowe w Krakowie, 2008.

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Folga-Januszewska, Dorota. Hommage à Paul Klee: Polsćy artysci XX wieku wobec teorii i praktyki artystycznej Paula Klee = 20th century Polish artist and the theory and work of Paul Klee. Muzeum Narodowe w Warszawie, 2001.

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(Firm), Bonhams. 20th century art. Bonhams, 2002.

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(Firm), Butterfields. 20th century art. Butterfields, 2000.

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Krasiński, Edward. Edward Krasiński, les mises en scène. Generali Foundation, 2006.

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Book chapters on the topic "Art, Polish – 20th century"

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Webster, Peter. "New Visual Art for Chichester." In Church and Patronage in 20th Century Britain. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_6.

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Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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Kijania-Placek, Katarzyna. "Nonclassical Conceptions of Truth in Polish Philosophy at the Beginning of the 20th Century." In The Golden Age of Polish Philosophy. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2401-5_14.

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Rutecka-Baynes, Monika. "Jan Matejko and Polish Historical Painting." In Representing the Past in the Art of the Long Nineteenth Century. Routledge, 2021. http://dx.doi.org/10.4324/9781351004183-9.

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Poldi, Gianluca, Chiara Anselmi, Alessia Daveri, and Manuela Vagnini. "CHAPTER 4. Josef Albers' Use of 20th Century Pigments: A Non-invasive Analytical Approach." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00067.

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Benedikter, Roland, and Judith Hilber. "Mukherjee’s 20th Century Source: Pop Art of the 1960s. A Similar Inspiration, 400 Years After the Moghuls?" In The Art of Multiculturalism. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89668-7_5.

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Manikowska, Ewa. "Picturing Polish Art Patrimony in the Second Polish Republic: The Legacy of the Nineteenth-Century Atlas Tradition." In Photography and Cultural Heritage in the Age of Nationalisms. Routledge, 2020. http://dx.doi.org/10.4324/9781003103691-5.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century). Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Martyniuk, Stefan. "Colonization of Some Polish Soils by Azotobacter spp. at the Beginning and at the End of the 20th Century." In Biological Resources and Migration. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-06083-4_15.

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Conference papers on the topic "Art, Polish – 20th century"

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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

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Janas, Karol. "POLISH-SLOVAK POLITICAL RELATIONS AT THE TURN OF THE 1920S AND 1930S OF THE 20TH CENTURY." In 5th International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/1.2/s01.024.

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Tyler, Christopher W., and Amy Ione. "Concept of space in 20th century art." In Photonics West 2001 - Electronic Imaging, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2001. http://dx.doi.org/10.1117/12.429529.

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Gamble, Susan, and Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution." In OE/LASE '90, 14-19 Jan., Los Angeles, CA, edited by Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Csikota, Josef. "Development of Musical Culture in Hungary in the 20th Century." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.6.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Andreeva, Olga. "Cinematography as an Unique Phenomenon of the 20th Century Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.80.

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Malinovskaya, Elizaveta. "National Schools of the 20th Century: Cultural Identity or Conceptual Choice." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.128.

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Lapot, Miroslaw. "PUBLIC SCHOOLING IN GALICIA AT THE TURN OF 19TH AND 20TH CENTURY AS THE BATTLEFIELD AND PLACE OF COLLABORATION BETWEEN POLES, UKRAINIANS AND JEWS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s08.042.

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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