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Relevant bibliographies by topics / Contemporary art, advertising, Polish art

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Academic literature on the topic 'Contemporary art, advertising, Polish art'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Contemporary art, advertising, Polish art"

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Pryshchenko, Svitlana Valeriivna. "CREATIVE TECHNOLOGIES IN ADVERTISING DESIGN." Creativity Studies 12, no. 1 (2019): 146–65. http://dx.doi.org/10.3846/cs.2019.8403.

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The purpose of this article was analyses the existing methodological approaches to art, culture, design, advertising for the further effective designing of advertising products, increasing its positive value orientations and aesthetic level. The research area is the visualization of advertising ideas taking into account of regional specificity and ethno-cultural identification. Scientific study of cultural-aesthetic component in advertising design has the aim to systematize visual means of information and make a complex definition of their functional specifics in contemporary society, which is much wider than thirty years ago. The advertising graphics presented as visual art, visual culture and visual communication. On examples, we considered the creative advertising technologies: metaphors, hyperbole, associations, allegories and metonymies using colour-graphic imaginative means. Orientation of products to regional consumer groups, significant change of market policy presupposed cardinal change in tasks and character of advertising: socio-psychological, cultural and art-aesthetical indices become actual. Definition of imagery as specific tool of creativity on the point of view different aesthetic ideals is a key to understanding the process of art projecting. So, our comprehensive research summarizes stylistics of advertising graphics in the context of cross-cultural communications from posters to new advertisings forms – digital media

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Połowniak-Wawrzonek, Dorota. "Związki frazeologiczne i skrzydlate słowa wywodzące się z filmów w reżyserii Stanisława Barei (na wybranych przykładach)." Poznańskie Studia Polonistyczne. Seria Językoznawcza 28, no. 2 (2021): 331–51. http://dx.doi.org/10.14746/pspsj.2021.28.2.20.

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In contemporary Polish, there are phrases and winged words that come from films, TV series, songs, the language of politics, advertising, popular TV and radio programmes. Among the well-established expressions from the film and TV series, there are permanent verbal connections derived from the films by S. Bareja. Fixed verbal connections stand out among them: Słuszną linię ma nasza władza, Jak jest zima, to musi być zimno, Narodziła się nowa świecka tradycja, Ile jest cukru w cukrze, Nie wiem, nie znam się, nie orientuję się, zarobiony jestem. These idioms, winged words appear in both canonical and modified form. The usual modifications change or replace parts of the original phrases. Innovation strengthens the invariant. Fixed verbal connections of this type are usually ironic and comic. They often fulfill a ludic or phatic function – their appearance is the sender’s communicative signal addressed to the recipient participating in the same culture which is being created today not only by literature, music, painting and other works of art, but also by films, TV series, television and radio programs and so on.

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MORRIS, E. "ADVERTISING AND THE ACQUISITION OF CONTEMPORARY ART." Journal of the History of Collections 4, no. 2 (1992): 195–200. http://dx.doi.org/10.1093/jhc/4.2.195.

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Peseckienė, Dovilė. "Practice of applying visual advertising to Lithuanian contemporary art." Vilnius University Open Series, no. 2 (December 5, 2019): 62–66. http://dx.doi.org/10.15388/openseries.2019.18405.

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Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.

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Ruan, Xunmiao. "The Application of the Expression form of Contemporary Art in the Creative Advertisement of Dongguan Time-honored Brand." Learning & Education 10, no. 3 (2021): 214. http://dx.doi.org/10.18282/l-e.v10i3.2458.

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Excellent advertising creativity can enhance the value of a brand, and also represent a brand image.There are various forms of expression of contemporary art, and just because of this, the perfect collision between the charm of contemporary art and advertising creativity can burst out gorgeous sparks.Dongguan is the most representative city of Lingnan culture, which is rich in long history, culture and rich folk characteristics.The time-honored brands of Dongguan contain the warmth and memories of the city. The brand image with regional characteristics is deeply rooted in the hearts of people and it has become an immortal memory in the hearts of a generation.Dongguan’s old-fashioned brand creative advertisement conveys a new idea through the expression of contemporary art, it is necessary to start research from the origin of the brand.And according to the unique temperament of the time-honored brand, reasonable addition of innovative advertising ideas.Under the influence of the expression form of contemporary art, the creative advertising of time-honored brands must be changed to improve the innovation ability, so as to effectively comply with the trend of social development, achieve development goals, enhance the publicity of dongguan timehonored brands, and establish a positive corporate image.Make the advertising design of the Dongguan old brand brand in the market.In this paper, through the study of the expression of contemporary art in dongguan time-honored brand advertising creative application of the following research.

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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.

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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.

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Tsvetova, N. "Contemporary Russian Art-Mediadiscourse: Communicative Status." Scientific Research and Development. Modern Communication Studies 9, no. 1 (2020): 62–69. http://dx.doi.org/10.12737/2587-9103-2020-62-69.

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The article analyzes the mediatexts that form the part of the modern Russian art media discourse, which traditionally correlated with cultural and educational journalism. The purpose of the analysis is to describe the key manifestations of the modernization of the communicative orientation of discourse — its communicative status. Using mainly analytical techniques developed by intentional stylistics, the author finds the blurring of segment boundaries within the discourse, which, first of all, manifests itself in the disappearance of the always existing watershed between cultural and educational, art journalism, art PR and advertising art text; changing the semantic structure of texts that format the “elite” segment of art media discourse associated with classical, high art-theater, music, the art of the word; dominance in today’s art media discourse of image-based business projects deployed in time, which are implemented using modern PR techniques. It is obvious that technologically the process of modernization of discourse is carried out under the influence of actualization of national, historical PR experience and assimilation, appropriation, adaptation of the experience of the world, first of all, еuropean. These observations lead to the conclusion that today in Russia the journalistic coverage of classical art is no longer dictated by informative or evaluative, but by incentive intentionality, which indicates the inclusion of the analyzed publications in the system of strategic communication and largely determines the speech form of different genres of media texts of this discursive affiliation.

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Kossowska, Irena. "Politicized Aesthetics: German Art in Warsaw of 1938." Art History & Criticism 13, no. 1 (2017): 29–41. http://dx.doi.org/10.1515/mik-2017-0003.

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Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.

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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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Mazurkiewicz, Michał. "Sport w sztuce. Sport in Art. 2012. Eds. M. KozioŁ, D. Piekarska, M. A. Potocka." Respectus Philologicus 24, no. 29 (2013): 237–39. http://dx.doi.org/10.15388/respectus.2013.24.29.22.

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Sport w sztuce. Sport in Art. M. Kozioł, D. Piekarska, M. A. Potocka, eds. 2012. Kraków: Museum of Contemporary Art in Kraków. 200 pp. ISBN 978-83-62435-64-7. Sport in Art, published by the Museum of Contemporary Art in Kraków, presents the most recent contemporary art, both Polish and international. To be more precise, the Museum focuses on exhibiting contemporary art of the last two decades. It was opened quite recently—in 2011. Sport in Art was published to accompany an exhibition which took place between May and September 2012 in the Museum. It presents over forty artists and their unique perspectives and interpretations of sport. As Maria Anna Potocka stated, “The range and diversity of the artistic problems that arise under the influence of sporting inspiration are—even within the narrow scope of this exhibition—truly impressive.”

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Dissertations / Theses on the topic "Contemporary art, advertising, Polish art"

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Noga, John Koly. "Making It PersonalProgramming Untitled (The New Plan)A Billboard Artwork by the Artist Felix Gonzalez-Torres." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1404941895.

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Ambrosio, Jeanie. "Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites)." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.

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As the artwork’s title suggests, Penelope Umbrico’s "Mirrors (from Home Décor Catalogs and Websites)" (2001-2011), are photographs of mirrors that Umbrico has appropriated from print and web based home décor advertisements like those from Pottery Barn or West Elm. The mirrors in these advertisements reflect the photo shoot constructed for the ad, often showing plants or light filled windows empty of people. To print the "Mirrors," Umbrico first applies a layer of white-out to everything in the advertisement except for the mirror and then scans the home décor catalog. In the case of the web-based portion of the series, she removes the advertising space digitally through photo editing software. Once the mirror has been singled out and made digital, Umbrico then adjusts the perspective of the mirror so that it faces the viewer. Finally, she scales the photograph of the mirror cut from the advertisement to the size and shape of the actual mirror for sale. By enlarging the photograph, she must increase the file size and subsequent print significantly, which distorts the final printed image thereby causing pixelation, otherwise known as “compression artifacts.” Lastly, she mounts these pixelated prints to non-glare Plexiglas both to remove any incidental reflective surface effects and to create a physical object. What hangs on the wall, then, looks like a mirror in its shape, size and beveled frame: the photograph becomes a one-to-one representation of the object it portrays. When looking at a real mirror, often the viewer is aware of either a reflection of the self or a shifting reflection caused by his or her own movement. However, the image that the "Mirror" ‘reflects’ is not the changing reflection of a real mirror. Nor is it a clear, fixed image of the surface of a mirror. Instead the "Mirrors" present a highly abstract, pixelated surface to meet our eyes. The "Mirrors" are physical objects that merge two forms of representation into one: the mirror and the photograph, thus highlighting similarities between them as surfaces that can potentially represent or reflect almost anything. However, in their physical form, they show us only their pixelation, their digitally constructed nature. Penelope Umbrico’s "Mirrors" are photographs of mirrors that become simultaneously photograph and mirror: the image reflected on the mirror’s surface becomes a photograph, thus showing an analogy between the two objects. In their self-reflexive nature, I argue that Umbrico’s "Mirrors" point to their status as digital photographs, therefore signaling a technological shift from analog to digital photography. Umbrico’s "Mirrors," in altering both mirrors and photographs simultaneously refer to the long history of photography in relation to mirrors. The history of photography is seen first through these objects by the reflective surface of the daguerreotype which mirrored the viewer when observing the daguerreotype, and because of the extremely high level of detail in the photographic image, which mirrored the photographic subject. The relation to the history of photography is also seen in the phenomenon of the mirror within a photograph and the idea that the mirror’s reflection shows the realistic way that photographs represent reality. Craig Owens calls this "en abyme," or the miniature reproduction of a text that represents the text as a whole. In the case of the mirror, this is because the mirror within the photograph shows how both mediums display highly naturalistic depictions of reality. I contend that as an object that is representative of the photographic medium itself, the shift from analog to digital photography is in part seen through the use of the mirror that ultimately creates an absent referent as understood through a comparison of Diego Velázquez’s "Las Meninas" (1656). As Foucault suggests that "Las Meninas" signals a shift in representation from the Classical age to the Modern period, I suggest that the "Mirrors" signal the shift in representation from analog to digital. This latter shift spurred debate among photo history scholars related to the ontology of the photographic medium as scholars were anxious that the ease of editing digital images compromised the photograph’s seeming relationship to truth or reality and that it would be impossible to know whether an image had been altered. They were also concerned with the idea that computers could generate images from nothing but code, removing the direct relationship of the photograph to its subject and thereby declaring the “death” of the medium. The "Mirrors" embody the technological phenomenon with visual addition of “compression artifacts,” otherwise known as pixelation, where this representation of digital space appears not directly from our own creation but as a by-product of digital JPEG programming. In this way they are no longer connected to the subject but only to the digital space they represent. As self-reflexive objects, the "Mirrors" show that there has been a technological transformation from the physically made analog photograph to the inherently mutable digital file.

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Berger, Bruna. "ARTE E PUBLICIDADE NA CONTEMPORANEIDADE: CONVERGÊNCIAS." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5242.

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Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul<br>This research aims to understand the processes of convergence between art and advertising its insert and contribute in different ways to the artistic field. In this contemporary time, one sees an active process of confluences and cultural and communicational hybrids due to increasingly latent exposure of the mass media and new technologies. There has been a notable advance in the art use of insertion strategies and dissemination of its content in the media, showing up, sometimes as promotion strategy, sometimes as critical to such means. For analysis and development of this study, we turn to artists whose works comprise characteristics that lead to border washout, allowing us to see there where the convergence between art and advertising are these days, much of the exploration point of view of language and space ownership advertising. This study is based on the works of the following artists, Antoni Muntadas, Felix Gonzalez-Torres, Jeff Koons, Vik Muniz, Barbara Kruger, Cindy Sherman, Paul Bruscky and Gisele Beiguelman. In this investigative journey also approach the relationship between contemporary art and the art market, looking at art as a field of knowledge can provide us with different reflections on the world, which has an ambiguous position because it is an activity with purpose endless and it has, however, able to transform the interests of the consumer market. Subjected to economic and cultural imperatives, art also relates to the big brands in the consumer market, and a major corporate investment in certain cases. Evaluate how resources obtained in these artistic practices influence the mode of production of artists and their careers, limiting their opportunities and constraints in this field and, therefore, we try to understand the status of the artist in contemporary society. Finally, we believe that the artwork that allow convergence with other fields, such as advertising, especially those that occur in non-institutional spaces, contribute to the debate on the nature of art. Thus, we can see an ease access to those works, which indicates a greater democratization of art. We also understand that although there is a fusion between art and advertising, borders appear less distinct and hierarchical, more permeable. This phenomenon changes the aesthetic experience we have with the world and the art changes the world, experience it changes us too.<br>Esta pesquisa tem por objetivo compreender os processos de convergência entre a arte e a publicidade que se inserem e contribuem de diferentes formas para o campo artístico. Nesse tempo contemporâneo, percebe-se um processo ativo de confluências e hibridismos culturais e comunicacionais devido à exposição cada vez mais latente dos meios de comunicação de massa e das novas tecnologias. Observa-se um notável avanço da arte na utilização de estratégias de inserção e de divulgação dos seus conteúdos nas mídias, mostrando-se, ora como estratégia de promoção, ora como crítica a esses meios. Para análise e desenvolvimento desse estudo, nos voltamos para artistas cujas obras comportam características que levam ao esmaecimento de fronteiras, permitindo visualizar aí a convergência entre arte e publicidade nos dias de hoje, tanto do ponto de vista da exploração como da apropriação de linguagens e espaços publicitários. Este estudo se apoia nas obras dos seguintes artistas, Antoni Muntadas, Felix Gonzalez-Torres, Jeff Koons, Vik Muniz, Barbara Kruger, Cindy Sherman, Paulo Bruscky, e Gisele Beiguelman. Nesse percurso investigativo, abordamos também as relações entre a arte contemporânea e o mercado da arte, observando a arte como um campo de saber capaz de nos proporcionar diferentes reflexões sobre o mundo, que apresenta uma posição ambígua por ser uma atividade com finalidade sem fim e que tem, no entanto, o poder de se transformar aos interesses do mercado de consumo. Submetida a imperativos econômicos e culturais, a arte relaciona-se também com as grandes marcas do mercado de consumo, sendo um importante investimento corporativo em determinados casos. Avaliamos como os recursos obtidos nessas práticas artísticas influenciam o modo de produção dos artistas e suas carreiras, delimitando as suas oportunidades e restrições nesse campo e, em consequência, tentamos compreender o status do artista na contemporaneidade. Enfim, acreditamos que os trabalhos artísticos que permitem a convergência com outros campos, como o da publicidade, principalmente aqueles que ocorrem em espaços não institucionais, contribuem para o debate sobre a própria natureza da arte. Com isso, percebe-se uma facilidade de acesso a essas obras, o que indica uma maior democratização da arte. Compreendemos também que, embora não exista uma fusão entre a arte e a publicidade, as fronteiras se apresentam menos distintas e hierarquizadas, ou seja, são mais permeáveis. Esse fenômeno modifica a experiência estética que temos com o mundo e, se a arte modifica o mundo, experienciá-la nos modifica também.

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Barker, Cory Andrew. "Genre Welcome?: Formula, Genre and Branding in USA Network's Programming and Promotional Content." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332972861.

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Parks, Stephen R. "Consuming Digital Debris in the Plasticene." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5438.

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Claims of customization and control by socio-technical industries are altering the role of consumer and producer. These narratives are often misleading attempts to engage consumers with new forms of technology. By addressing capitalist intent, material, and the reproduction limits of 3-D printed objects’, I observe the aspirational promise of becoming a producer of my own belongings through new networks of production. I am interested in gaining a better understanding of the data consumed that perpetuates hyper-consumptive tendencies for new technological apparatuses. My role as a designer focuses on the resolution of not only the surface of the object through 3-D printing, but the social implications to acknowledge consequential conditions of new forms of consumer technology.

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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

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Miller, Rebecca J. "A critical analysis of advertising for contemporary art education curriculum." 1988. http://catalog.hathitrust.org/api/volumes/oclc/19804681.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 1988.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 34-35).

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Books on the topic "Contemporary art, advertising, Polish art"

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Contemporary graphic art in Poland. Craftsman House, 1997.

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Schauss, Hans-Joachim. Contemporary Polish folk artists. Hippocrene Books, 1987.

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From idolatry to advertising: Visual art and contemporary culture. M.E. Sharpe, 1996.

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Dzikowska, Elżbieta. Polacy w sztuce świata: 50 wybitnych artystów sztuki współczesnej = Polish artists on the world arts scene : 50 outstanding contemporary artists. Rosikon press, 2001.

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Nachtigal, Jane. Self-portraits in make-up: Art and identity in contemporary cosmetics advertising. Middlesex Polytechnic, 1990.

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Wróblewska, Danuta. Polish contemporary graphic art: Studio graphics, the poster, book design, press design. Interpress, 1988.

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Althamer, Paweł. Pawel Althamer: The Vincent van Gogh bi-annual award for contemporary art in Europe, 2004. Hatje Cantz, 2004.

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Hermansdorfer, Mariusz. Między ekspresją a metaforą: [kolekcja sztuki współczesnej Muzeum Narodowego we Wrocławiu] = Between expression and metaphor : [contemporary art collection of the National Museum in Wrocłlaw]. Muzeum Narodowe we Wrocławiu, 1999.

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Krakowie, Muzeum Narodowe w. Polska sztuka wspólczesna z Kolekcji Muzeum Narodowego w Krakowie: Contemporary Polish art in the collection of the National Museum in Krakow. Museum Narodowego w Krakowie, 2011.

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Wrocławiu, Muzeum Narodowe we, and Poland. Ministerstwo Kultury i Dziedzictwa Narodowego, eds. Kolekcja polskiej sztuki wspólczesnej Museum Narodowego we Wroclawiu =: Polish contemporary art in the collection of the National Museum of Wroclaw. Muzeum Narodowe we Wroclawiu, 2010.

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Book chapters on the topic "Contemporary art, advertising, Polish art"

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Kutis, Barbara. "Superwoman, Supermother, or Polish Mother? Elżbieta Jabłońska’s Artistic Negotiation of Motherhood." In Artist-Parents in Contemporary Art. Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-3.

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Korolczuk, Elżbieta. ""I've Got It From My Mother": Exploring the Figure of the Mother in Contemporary Polish Art." In Reconciling Art and Mothering. Routledge, 2017. http://dx.doi.org/10.4324/9781315089072-9.

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Dębicka, Monika. "Advertising – the Art of Manipulation. Cultural Determinants in Effectiveness of Advertising, Polish and American Cases." In Business Students Focus on Ethics. Routledge, 2017. http://dx.doi.org/10.4324/9781351326445-23.

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"Continuum 1952–1961." In Art and Pluralism. Liverpool University Press, 2012. http://dx.doi.org/10.5949/liverpool/9781846316456.003.0002.

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Lawrence Alloway's scope as an art critic became international in 1950, but his criticism only changed significantly the following year after a review of a Roberto Matta exhibition at the Institute of Contemporary Arts (ICA). This review marked Alloway's transition from connoisseurship and simple evaluation to a far more dense and demanding art criticism. This section focuses on Alloway's life as an art critic in the period 1952–1961. It provides an overview of ICA in the early 1950s and its Independent Group, Alloway's attitudes toward abstraction and figurative art, his cultural continuum model, his views on graphics and advertising, art autre, Alloway's first trip to the United States, and the emergence of Pop art.

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Scuriatti, Laura. "Designers’ bodies: women and body hair in contemporary art and advertising." In The Last Taboo. Manchester University Press, 2011. http://dx.doi.org/10.7228/manchester/9780719075001.003.0008.

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"The Reception of One Thousand and One Nights in Polish Contemporary Literature." In The Thousand and One Nights: Sources and Transformations in Literature, Art, and Science. BRILL, 2020. http://dx.doi.org/10.1163/9789004429031_014.

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"Between Therapy and Art: Borderline Space in Polish Theatre of People with Intellectual (Dis)Ability." In Disability and Dissensus: Strategies of Disability Representation and Inclusion in Contemporary Culture. BRILL, 2020. http://dx.doi.org/10.1163/9789004424678_012.

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"Interdisciplinary Project on the Representation of Erotic Relations in Spanish and Polish Contemporary Literature and Its Application to Other Disciplines." In Rethinking the Erotic: Eroticism in Literature, Film, Art and Society. BRILL, 2014. http://dx.doi.org/10.1163/9781848883505_005.

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Kraševac, Irena, and Petra Šlosel. "Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century." In Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.

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Polonsky, Antony. "Ezra Mendelsohn." In Polin: Studies in Polish Jewry Volume 30. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781906764500.003.0026.

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EZRA MENDELSOHN, who, sadly, died of cancer in May 2015, was one of the pioneers of the rediscovery of the Polish Jewish past. For many years he was a professor at the Institute of Contemporary Jewry at the Hebrew University of Jerusalem and after his retirement became Rachel and Michael Edelman Professor Emeritus of European Jewry and Holocaust Studies at the Hebrew University. He completed his doctorate at Columbia University in 1966 and subsequently moved to Israel where he spent his entire academic career. A highly creative thinker, he wrote widely on many topics, including the Jewish labour movement, the history of Jews in eastern Europe, modern Jewish politics, and modern Jewish art and music. At the time of his death, he was working on a volume of articles dealing with universalism among Jews. He also served as co-editor for many years of ...

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Conference papers on the topic "Contemporary art, advertising, Polish art"

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Bartl, Jan, and Miroslav Hain. "Infrared investigation of works of art." In Eleventh Slovak-Czech-Polish Optical Conference on Wave and Quantum Aspects of Contemporary Optics, edited by Miroslav Hrabovsky, Anton Strba, and Waclaw Urbanczyk. SPIE, 1999. http://dx.doi.org/10.1117/12.353098.

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Andriušaitienė, Daiva, and Gerda Vižinytė. "Development of a social business as a social innovation: the case of Lithuania." In Contemporary Issues in Business, Management and Economics Engineering. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/cibmee.2019.010.

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Purpose of this article is to assess the first steps of development of social business in Lithuania. Research methodology − systematic analysis of the peculiarities of social business in the scientific literature; identification of the main social problems and possibilities for social business based on results of semi-structured interviews, expert assessment, data grouping and interpretation. Findings − social business development is slow compared to its need. The creation of a legal framework, validating a flexible model of social business and wider social advertising campaign can serve as catalysts for the breakthrough to pave the way for social business development. Research limitations − the main limitation – lack of official social business statistics. Another – factor of subjectivity, which could affect the results of the research, revealing only the main tendencies and problems. In the planning of further research, it is possible to seek greater objectivity of the evaluation by improving the survey questionnaire, to evaluate the social and economic efficiency of social business by the cost-benefit analysis method. Practical implications − the obtained results are useful for social and economic policy makers. Originality/Value − the study contributes to scientific literature by sufficient understanding of practical problems of social business development and fills the gap in research of possibilities of social business development

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Golubkova, Ekaterina. "The Potential for the Transformation of Public Space in Yekaterinburg via Non-Standard Advertising Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-53.

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In the article, the author considers the influence of new advertising media on the establishment of public space and the transformation of the urban environment of Yekaterinburg. Though popular in Europe, the sociocultural phenomenon Ambient media remains insufficiently studied in contemporary Russia. Ambient advertising has the ability to change the usual urban space in a special way, overcoming environmental alienation and modelling the environment into a comfortable and safe one, therefore developing the public life of the city, making it attractive and creating ‘places of attraction’ for city dwellers. The author carried out an in-depth interview with representatives from the advertising community in Yekaterinburg (N = 22) to research into expert views on unconventional media, and to study expert appraisal of how the new form of advertising communication, Ambient media, impacts the urban environment of Yekaterinburg. The interviewed experts were specialists in advertising and marketing. Main occupation: advertising project management, creative strategies, outdoor ads, event-marketing, PR with a status of an advertising agency or department in the city of Yekaterinburg. Gender profile: 50% males, and 50% females; all aged between 27 and 50. Our study has revealed that advertisement experts regard Ambient media to be a very promising tool in terms of their professional practice, including in regards to the transformation of ambient urban space. Respondents note a correlation between the propagation of Ambient- objects in the city and public space formation. Non-standard media can fill the city with new meanings of freedom and creativity, helping to overcome feelings of alienation and creating new comfortable and safe spaces that people recognise as ‘their own’. Ambient-objects are moreover a source of pride for various social groups of citizens, as they contribute to the formation of a new image of Yekaterinburg: a unique, modern art centre, a city of freedom and creativity.

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Arruda, Amilton, Celso Hartkopf, and Rodrigo Balestra. "City branding: strategic planning and communication image in the management of contemporary cities." In Systems & Design: Beyond Processes and Thinking. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3288.

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Over the past decade, one can observe a steady growth in the use of terms such as Place Branding, Nation Branding, Destination Branding and City Branding. Both in academic research and in the practical applications in large cities management and urban spaces, this new paradigm takes shape and, along with it, the need for definitions and concepts, methods and methodologies and the establishment of technical and theoretical standards. This approach was born in the Marketing field, specifically in what was called Place Marketing. In this context the Branding stood out as a development tool solutions to the need for differentiation, generation of solid images and the establishment of symbols and identity signs, in order to leverage economic benefits for countries, cities and regions. In a way, fulfilling, in the first instance, a similar role to the branding of products and services. But it was specifically in Branding corporations that were found the biggest matches to adapt this knowledge to management positions. Ashworth &amp; Kavaratzis (2010) highlight the fact that both present multidisciplinary roots, a multiple number of strategic actors (stakeholders), high degree of intangibility and complexity of social responsibility, the multiplicity of identities and the long-term development needs are strong examples their similarities. The development and management of corporate identities, here expanded to the Branding corporations, it is a prolific field of Design. It great names of the area said their careers and built great legacy. The time of greater proficiency in the area were the 50s and 60s, dominated by modernist thought, and, coincidentally or not, exactly the time that focused efforts to assert the identity of the designer as a professional (STOLARSKI, 2006) . Nationally stand out names like Alexandre Wollner, Ruben Martins, the duo Carlos Cauduro and Ludovico Martino and Aloisio Magalhaes. In contrast, in the literature produced in the marketing field, often the role of design in this context is reduced to merely promotional measures, such as creating logos or advertising campaigns. In other words, defined as a work of low complexity and low social prägnanz. This approach comes at odds with contemporary theories of design, such as MetaDesign, Design Thinking and Design Collaborative, in which are presented motodológicos models of high relevance for the identification, analysis and solution of complex problems involving multiple elements and agents. The proposed article aims to survey the state of the art City Branding / Place Branding focused on publications produced in the disciplinary field of design. The literature review will grant that, before the above presented context, is analyzed as designers and researchers design face the contributions that the field can offer to the practice and theory of Branding places. Finally, Article yearns assess whether the pre-established hypothesis that there are possible and fruitful connections between contemporary theories of design and the City Branding, is being addressed in articles and publications area.DOI: http://dx.doi.org/10.4995/IFDP.2016.3288

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