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

Author: Grafiati
Published: 24 April 2022

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1

Contemporary graphic art in Poland. Craftsman House, 1997.

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2

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

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3

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

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4

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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5

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

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6

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

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7

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

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8

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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9

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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10

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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11

Biennale Plakatu Polskiego (18th 2003 Katowice, Poland). 18 Biennale Plakatu Polskiego, Katowice 2003: Galeria Sztuki Współczesnej BWA : grudzień 2003 = 18 Biennial of the Polish Poster, Katowice 2003 : BWA Contemporary Art Gallery : December 2003. Galeria Sztuki Współczesnej BWA w Katowicach, 2003.

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12

Art, Yuri Stepanov Fine. Auction of Soviet & Polish contemporary art, on behalf of SENSE in the City Appeal, with Albatross Fine Arts. Edited by Edmonds Gwen, Albatross Fine Arts, and Sense (Organisation). Yuri Stepanov Fine Art, 1990.

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13

Biennale Plakatu Polskiego (17th 2001 Katowice, Poland). 17 Biennale Plakatu Polskiego, Katowice 2001: Galeria Sztuki Współczesnej BWA, Katowice, 7 grudzień 2001-13 styczeń 2002 = 17 Biennial of the Polish Poster, Katowice 2001 : BWA Contemporary Art Gallery, Katowice, 7 December-13 January 2002. Galeria Sztuki Współczesnej BWA, 2002.

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14

Gayle, Wimmer, Bar Or Galia, and Mishkan Le'Omanut Museum of Art Ein Harod., eds. Contemporary Polish fiber art. Modan Publishing House, 1991.

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15

Alicja, Słowikowska, Polish Artists Union, and International Book Fair, eds. Contemporary Polish book art. Polish Artists Union, 1997.

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16

Contemporary Polish Art: Twisted Entities. Verlag fur Moderne Kunst, 2013.

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17

Common Affairs: Revisiting the VIEWS Award - Contemporary Art from Poland. Hatje Cantz Verlag GmbH & Co KG, 2016.

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18

Contemporary identities current: Artistic creation in Poland. ZAPOL Dmochowski, 2004.

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19

Josephson, Susan G. From Idolatry to Advertising: Visual Art and Contemporary Culture. Routledge, 2016. http://dx.doi.org/10.4324/9781315480015.

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20

MOCAK Museum of Contemporary Art in Krakow: Director's Choice. Scala Books, 2019.

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21

Aneta, Szyłak, Matynia Elżbieta, Monkiewicz Dorota, and Sculpture Center (New York, N.Y.), eds. Architectures of gender: Contemporary women's art in Poland. National Museum of Warsaw, 2003.

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22

The Power of Fantasy: Modern and Contemporary Art from Poland. Prestel, 2011.

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23

Gallery, Walter Phillips, ed. Contemporary art from Poland: Walter Phillips Gallery, July 5-28, 1985. The Gallery, 1986.

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24

Hanns-Ulrich, Mette, Stalter-Haarmann Theresia, and Kunsthalle zu Kiel, eds. Von Angesicht zu Angesicht: Gegenwartskunst aus dem Ostseeraum = Face to face : contemporary art from the Baltic Area. Schleswig-Holsteinischer Kunstverein, Kunsthalle zu Kiel, 1992.

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25

1915-1990, Kantor Tadeusz, Trzupek Jan, Galeria Sztuki Współczesnej BWA Katowice., Muzeum Archidiecezjalne w. Katowicach, and Biennale Sztuki Wobec Wartości (8th : 2001 : Katowice, Poland), eds. Oblicza śmierci we współczesnej sztuce polskiej =: The faces of death in Polish contemporary art. Galeria Sztuki Współczesnej BWA, 2001.

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26

Pawel Althamer (Contemporary Artists). Phaidon Press, 2011.

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27

1893-1952, Strzemiński Władysław, Jedlinski Jaromir, Bless Frits, Muzeum Sztuki w. Łodzi, and Van Reekum Museum, eds. Vision and unity: Strzeminski, 1893-1952, and 9 contemporary Polish artists : Strzeminski, 1893-1952, en 9 hedendaagse Poolse kunstenaars. Muzeum Sztuki, 1989.

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28

Polacy W Sztuce Swiata: 50 Wybitnych Artystow Sztuki Wspoczesnej = Polish Artists on the World Arts Scene: 50 Outstanding Contemporary Artists. Rosikon Press, 2001.

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29

1925-, Gierowski Stefan, Ruksza Stanisław J, Galeria Sztuki Współczesnej BWA Katowice., Muzeum Archidiecezjalne w. Katowicach, and Biennale Sztuki "Wobec Wartości" (9th : 2003 : Katowice, Poland), eds. Sol invictus: Malarstwo a chrześcijaństwo we współczesnej sztuce polskiej = painting and Christianity in Polish contemporary art. Galeria Sztuki Współczesnej BWA w Katowicach, 2003.

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30

Against All Odds. Polish Graphic Design 1919–1949. Karakter, 2011.

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31

Gogger, Christian, and Warhol Andy. Andy Warhol: Cars: Business Art. Hatje Cantz Publishers, 2003.

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32

Muse on Madison Avenue: Classical Mythology in Contemporary Advertising (Studien Zur Klassischen Philologie,). Peter Lang Publishing, 2002.

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33

Hartigan, Karelisa V. Muse on Madison Avenue: Classical Mythology in Contemporary Advertising (Studien Zur Klassischen Philologie Ser). Peter Lang Publishing, 2002.

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34

1928-1987, Warhol Andy, Wiehagen Rebate 1959-, Nymphius Friederike, and DaimlerChrysler, eds. Andy Warhol: [cars and business art] : commissioned art by Robert Longo, Simone Westerwinter, Mathis Neidhart : interviews with John M Armleder, Peter Halley, Sarah Morris. DaimlerChrysler AG, 2002.

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35

Ansell, Joseph P. Arthur Szyk. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.001.0001.

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Artist and illustrator Arthur Szyk was a Polish Jew whose work was overwhelmingly Jewish in theme and content. The mission he set himself was to use his artistic talents to serve humanity and the Jewish people. His work as a political artist went well beyond a narrow definition of the Jewish cause. He is best known among Jews for his illustrated Haggadah, but the majority of his work deals with contemporary political themes and social causes. In Poland, Szyk promoted the causes of freedom, toleration, and human dignity. He believed that as a Jewish artist he had a responsibility to speak for all minorities. He worked for years on behalf of the Polish government in an effort to strengthen the Jews' position. Szyk left Europe in 1940 and arrived in the United States later the same year. Determined to use his art for political purposes, he crusaded against the Nazis. Convinced that Hitler would not stop with the Jews but would suppress all freedom-loving people, he supported the war effort through his striking propaganda images of the German and Japanese armies, to great effect. After the war he turned his efforts to promoting the idea of a Jewish homeland in Israel. In every phase of his career, one finds Szyk looking to the past but hoping for the future; he believed that art could make a difference in the world, politically and socially. This biography makes a singular contribution to the history of Jewish art and of Polish–Jewish relations in the first half of the twentieth century.
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36

McAlpine, Kenneth B. Chips with Everything. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0011.

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As chiptune has grown in significance and popularity, the sound has begun to feature more in commercial releases, not just in commercial music tracks but in television advertising campaigns and movie soundtracks. The final chapter explores the tension that is created when an underground style of music like chiptune connects with the mainstream. It examines the Timbaland case, in which the hip-hop and R & B artist was accused of plagiarism, having sampled the music from a Finnish demo; discusses how national and international exhibitions of 8-bit video game art and music are providing a platform that legitimizes chiptune as a form of contemporary cultural expression; and highlights how, when executed with due reverence and care, as happened with the soundtrack to Scott Pilgrim vs. the World, can add extra layers of context and meaning to a production. It concludes by asking ‘what next’?
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