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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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Szczerski, Andrzej. "Why the PRL Now? Translations of Memory in Contemporary Polish Art." Third Text 23, no. 1 (2009): 85–96. http://dx.doi.org/10.1080/09528820902786719.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Yao, Jin Gui, and Lang Wu. "Application of Jiangxi Ancient Buildings Carved Window Shape in the Contemporary Design." Advanced Materials Research 919-921 (April 2014): 1527–30. http://dx.doi.org/10.4028/www.scientific.net/amr.919-921.1527.
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with the continuous innovation of contemporary art, more and more inspiration from the traditional meaning, while the Jiangxi ancient buildings carved window forms, modeling language is unique. This paper studied the application of contemporary design modeling language features in advertising, packaging, logo, fonts and other aspects of the premise, in the profound interpretation of these traditional modeling language, to the traditional modeling language combined with contemporary art and design perfect, realize the extraction from the art of carving shows the traditional window in Jiangxi ancient buildings and sublimation of evolution, the innovation of contemporary design in order to achieve the purpose.
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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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Strożek, Przemysław. "Off-field spectacle: Polish contemporary art and the national game (1921–2012)." Soccer & Society 18, no. 4 (2015): 476–96. http://dx.doi.org/10.1080/14660970.2015.1018499.
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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Wawrzak, Małgorzata. "MIECZYSŁAW TRETER (1883–1943): PRECURSOR OF POLISH MUSEOLOGY." Muzealnictwo 60 (September 25, 2019): 273–84. http://dx.doi.org/10.5604/01.3001.0013.5008.
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Mieczysław Treter is by no means an ordinary individual: an art historian, aesthetician, museum practitioner and theoretician-museologist, an individual of many professions, lecturer, journal editor, member of numerous organizations, propagator of Polish art abroad, manager, exhibition organizer. In the interwar period one of the most influential critics and art theoreticians, among the museum circles he was mainly known as the author of the recently reissued 1917 publication called Contemporary Museums. Museological Study. Beginnings, Types, Essence, and Organization of Museums. Public Museum Collections in Poland and Their Future Development. Born on 2 August 1883 in Lvov, in 1904 Mieczysław Henryk Treter started working with the Prince Lubomirski Museum as the scholarship holder of the Lvov Ossolineum. In 1910, he became Curator at the Museum, performing this function until the outbreak of WW I. He participated in the First Congress of Polish Museologists, held in Cracow on 4 and 5 April 1914. During WW I, he was in Kharkov and Crimea, and it was there that he wrote his most important study Contemporary Museums. In 1917, having moved to Kiev he became involved in the activity of the social movement for the care of Polish monuments throughout the former Russian Empire. In 1918, he returned to Lvov, became member of the national Eastern Galicia Conservation Circle, and retook the position of the Curator at the Prince Lubomirski Museum, to finally become its Director. On 4 February 1922, Mieczysław Treter was appointed Director of the State Art Collections, the position he retained until 1924. In 1926, he became Director of the Society for the Promotion of Polish Art Abroad, whose main task was to promote works of Polish artists in Poland and abroad. He passed away in Warsaw on 25 October 1943. Systematizing the theoretical knowledge and the report on the existing museums in the country deprived of its statehood in the book Contemporary Museums created a departure point for its Author, who following Poland’s regaining independence worked out the organization of state collections. Treter’s proposals were to regulate the position of Polish museum institutions complicated due to the partition period, for them, while rivaling foreign museums, to become elements boosting the young state’s prestige.
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Wang, Xi. "Application of Contemporary Art Language Form in Dongguan Traditional Food Brand Design." Learning & Education 10, no. 3 (2021): 236. http://dx.doi.org/10.18282/l-e.v10i3.2469.
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With the development of The Times, the progress of society and the continuous improvement of the level of science, technology and culture, the expression forms of artistic language are also diverse, and image symbols play an important role in the visual communication of People’s Daily life.For example, image symbols such as advertising, photography, design, media and movies have occupied people’s lives.Especially in the expression of image symbols, people are impressive in the traditional food brand design in Dongguan.Nowadays, a variety of art forms make the presentation of art more dynamic and complex.A variety of art works are presented in the public’s view in different appearances. This paper studies the forms of contemporary art language to understand the elements and applications of art language in the design of traditional food brands in Dongguan.
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Skrzydlewska, Beata. "On the Reasons for the Presence of Kitsch in Contemporary Religious Sp." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 189–201. http://dx.doi.org/10.21697/zk.2019ee.01.12.
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The study is the attempt to identify the sources of the kitsch phenomenon in contemporary religious art in Poland. The main subject of the study regards church interiors, particularly art works present in the sacred spaces of the Catholic church in Poland. The analysis, which does not include the notion of kitsch or other aspects of this problem, will be presented from the point of view of a person who has been scientifically and practically engaged in the protection of religious art monuments for years. Observations made during the implementation of projects for church museums, providing advice on the monument protection, as well as didactic work as a lecturer of art history in clerical seminaries prompted me to reflect on the level of Polish sacred art and its significance for the reception of the message of the Church.
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Genova, Irina. "AICA Congress in Poland in 1960: “International Character of Contemporary Art”." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 82–90. http://dx.doi.org/10.33919/sledva.20.40.14.
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The art historian prof. Irina Genova traces the history of AICA (Association internationale des critiques d’art) and focuses on its congress in Poland (Warsaw and Krakow) in 1960. The carefully chosen topic of the congress, “International Character of Contemporary Art”, meant to provide a meeting point for Western European and Eastern European artists and to open the post-Stalinist Eastern art scene to the contemporary tendencies of the abstract painting. The situation was different in the different countries. The research draws a parallel between the quite open Polish scene and the more conservative and closed Bulgarian one and the reception the congress had in those two contexts.
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Solewski, Rafał. "The Demeaned Avant-Garde and the Art of Cognition." Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione 14, no. 304 (2022): 40–55. http://dx.doi.org/10.24917/20813325.14.4.
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In 1979, at the exhibition L’avanguardia polacca 1910–1978. S.I. Witkiewicz, costruttivismo. artisti contemporanei [Polish Avant-Garde 1910–1978. S.I. Witkiewicz, Constructivists, Contemporary Artists] staged at the Palazzo delle Esposizioni in Rome, Tadeusz Kantor’s works were displayed alongside pieces by Stanisław Witkiewicz (also known as Witkacy), constructivists, and young Polish avant-garde. On being juxtaposed with the latter, the artist decided on an addition to his part of the show with the aim of “completing” it (L’avanguardia, 1979) – the adjoining rooms were to host an exposition of artworks by Cricot 2 Theatre actors (Le opere, 1979: 94–95). Upset about the limited space in the Palazzo put at his disposal by curator Ryszard Stanisławski (The transcription, 2013: 1), he still managed to provide a selection of avant-garde works that were bold, numerous and manifold, while demonstrating a distinctive style that tended to be odd, pitiful and astounding. A visit to the sections arranged by Kantor encouraged reflection on the role he himself, as well as the circles gathered around the Krakow Group and the Foksal Gallery in Warsaw occupied in the Polish world of art.
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Gavrash, Irina. "Wystawa "100 lat realizmu w sztuce polskiej" w Akademii Sztuk Pięknych ZSRR w Moskwie (1952) w kontekście polsko-radzieckich stosunków kulturalnych w latach 1949-1955." Porta Aurea, no. 17 (November 27, 2018): 162–78. http://dx.doi.org/10.26881/porta.2018.17.07.
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The article analyses the exhibition named „100 lat realizmu w sztuce polskiej” [100 Years of Realism in Polish Art] at the Academy of Fine Arts in Moscow in 1952 and its reception in the artistic environment of USSR in the context of Polish-Soviet artistic relations in 1949–1955. The exposition, prepared by the Committee of the International Cultural Cooperation with and the Ministry of Culture and Art, consisted of the Polish art of the 19th century and the art of a few previous years. It was supposed to present to the Soviet party the progress of the implementation of Socialist Realism in Poland on the basis of the Soviet example and Polish tradition of realistic art. However, the implementation of the scheme deviated from the official declarations due to both including in the exhibition the turn of the century, as well as presenting the issues of modernism and the selection of modern pieces, resulting from the specific emphases in the cultural policy of the time. The contemporary department was composed of pieces of artists from the ‘Sopot School’, combining in its art the Socialist Realism doctrine with elements of colourism. Opening the method onto elements of the Impressionism tradition was dictated by a need to break the deadlock which the Polish art found itself in soon after the 1st OWP. The exhibition caused a reaction in the environment of Soviet critics and artists, exposing differences in attitude towards art in the two countries, which, in the conditions of the political dominance of USSR, had been deepened further with time, impinging on the artistic relations dynamics.
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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.
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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.
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Bigaj-Zwonek, Beata. "Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem." Perspektywy Kultury 28, no. 1 (2020): 149–66. http://dx.doi.org/10.35765/pk.2020.2801.12.
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Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transformation of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.
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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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Serazio, Michael, and Wanda Szarek. "The art of producing consumers: A critical textual analysis of post-communist Polish advertising." European Journal of Cultural Studies 15, no. 6 (2012): 753–68. http://dx.doi.org/10.1177/1367549412450638.
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This article offers a critical textual analysis of hundreds of advertisements that appeared in Polish magazines at a pivotal historical juncture: following the collapse of communism and at the rise of a capitalist market economy in the early 1990s. It draws out from the visual and rhetorical data emblematic themes and sociocultural undercurrents concerning entrepreneurial opportunism and financial reassurance, status envy and post-rationing excess and interconnected solidarity with the West through brands and the English language itself. By studying the anxieties and aspirations represented in this symbolic material, we might better understand how new consumers were ideologically shepherded through a moment of profound political transition. The study represents a starting point for future investigation into how advertising produces its subjects in the aftermath of communism.
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Lisowska, Katarzyna. "Sztuka radości i praktyka anarchii. O powieści Goliardy Sapienzy i kilku polskich utworach." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 125–56. http://dx.doi.org/10.14746/pspsl.2020.38.6.
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The article discusses the Polish translation (2018) of Goliarda Sapienza’s novel L’arte della gioia (The Art of Joy, in Polish Sztuka radości, trans. by Tomasz Kwiecień) in relation to the selected works of Inga Iwasiów and Sylwia Zientek. Anarchism, which provides the ideological background of the Italian book, serves as the basic point of reference for this interpretation. The author points to the issues from Sapienza’s novel which are important from the perspective of anarchism and which can also be found in the Polish texts mentioned in the article. The aim of this analysis is to discuss the context in which The Art of Joy functions in Poland and to suggest the possible lines of interpretation that can be drawn between this novel and contemporary Polish literature.
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Shevchuk, K. S. "The concept of the "Contemporary art" and the "Aesthetic Situation" in Polish Aesthetics." Вісник Житомирського державного університету імені Івана Франка. Філософські науки, no. 1(85) (December 28, 2019): 95–102. http://dx.doi.org/10.35433/philosophicalsciences.1(85).2019.95-102.
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Minkner, Kamil. "Polish contemporary art to the anti-semitism of Poles and its political significance." Review of Nationalities 6, no. 1 (2016): 195–221. http://dx.doi.org/10.1515/pn-2016-0011.
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Abstract This article presents artistic creativity which worked through the problem of Polish anti-Semitism. Almost all discussed works, performances, films, projects appeared after 2000, when Jan Tomasz Gross published his book Neighbors, in which he described the massacre in the village of Jedwabne (1941) launching a public debate about the responsibility of Poles in the Holocaust of the Jews. In the text, I showed as art, which is conventionally called “post-Jedwabne” was part of this debate. Its political status on possibly general level was associated primarily with the revision of conventionalized historical memory and national identity formed on romantic patterns. The text shows that the debate with the participation of artists formed part of the rules of socalled ritual chaos, so the highly polarized positions, in which anti-Semitism was considered as an obvious and determining such events as the ones in Jedwabne (the opinion was adopted by artists), or it was denied. Even those works that sought to break away from this dichotomy, as Ida by Paweł Pawlikowski were placed secondarily in it as a part of the public debate. In the text, I explained that the post-Jedwabne art worked through primarily so-called secondary anti-Semitism. The political potential of these gestures was related to the disclosure of social antagonisms and tensions arising from the fact that Poles denied phenomenon of their own anti-Semitism and put the blame on the Jews for the fate, which they met. A very important aspect (political as well) also proved the psychotherapeutic function of post-Jedwabne art. In this perspective, events such as the pogrom in Jedwabne appear like trauma, which disintegrates the national identity. Translating it into artistic strategies many artists applied measures that were to deprive the viewer the secure role of an observer in favor of an active, working through participant.
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Sikorska, Karolina. "Training for Art and Femininity: Analysis of Life Stories of Contemporary Polish Artists." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 677–97. http://dx.doi.org/10.4467/20843860pk.21.047.14964.
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The article is an analysis of life stories of female visual artists connected with the Academy of Fine Arts in Krakow (Poland). It explores the specificity of women’s experiences and constitutes an attempt to examine the role models and gender hierarchies which dominate the artworld. The article emphasises two analytical categories – uncertainty and struggle – to demonstrate how they organise the life stories of female artists, and tries to explain how such life stories can lead to re-evaluation of the perception of art as a male profession and contribute to a greater appreciation of women’s activity in the artworld.
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Gracla, Jadwiga. "Ponad czasem - w duszy człowieka." Acta Polono-Ruthenica 1, no. XXII (2018): 23–30. http://dx.doi.org/10.31648/apr.1215.
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This article presents one of the newest Polish issue: Bedbug by Mayakovsky. Author draws attention to the universal values of art: the longing for happiness and closeness. Polish spectacle moves the action the second part of the drama to contemporary, and only partially retains universal values. It has for a strong political overtones.
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Płucienniczak, Piotr P. "Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015." Colloquia Humanistica, no. 8 (November 27, 2019): 187–202. http://dx.doi.org/10.11649/ch.2019.012.
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Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015The article explores the practices of institutional critique in Polish contemporary art. A quantitative survey of cases of institutional critique reveals major problems faced by artists and their perceptions of the autonomy of the visual arts. Badanie granic sztuki współczesnej: Eksploracyjne studium krytyki instytucjonalnej w Polsce 1990-2015Artykuł prezentuje wyniki eksploracyjnych badań nad praktykami krytyki instytucjonalnej w polskiej sztuce współczesnej. Ilościowa analiza epizodów takiego rodzaju działań artystycznych ujawnia najważniejsze problemy twórców i twórczyń oraz ich percepcję autonomii sztuk wizualnych.
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Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (2020): 127–58. http://dx.doi.org/10.36744/bhs.638.
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The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, the Exhibition of the Works of Graphic Artists from the Federal Republic of Germany opened in Warsaw on the same day when Nikita Khrushchev delivered his celebrated “Secret Speech” in Moscow (25 February 1956). The exhibition Poster Art in the Federal Republic of Germany was organized in 1957, after the events of the Polish October (1956). The idea to juxtapose art exhibitions with political events of their era follows contemporary reflections on the phenomenon of noncontemporaneity and on the heterogeneous nature of the visual time of art and exhibition histories.
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Pageot, Edith-Anne. "Figure de l’indiscipline. Domingo Cisneros, un parcours artistique atypique." RACAR : Revue d'art canadienne 42, no. 1 (2017): 5–21. http://dx.doi.org/10.7202/1040836ar.
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Between 1974 et 1996, the Canadian artist of Mexican origin Domingo Cisneros was seen as a leading figure in contemporary art in Canada. He played a major role in the process of self-determination that First Nations artists undertook following the infamous 1969 White Paper, the Statement of the Government of Canada on Indian Policy. Cisneros was recognized both in the Native and Quebec francophone contemporary art worlds, and was internationally acclaimed within the conceptual and contextual art milieu gathered around the Polish artist Jan Swidzinski. His contribution has nevertheless been forgotten. Coinciding with his seventy-fifth birthday, this article aims to review, conceptually frame, and contextualize Cisneros’s role and impact on the Canadian art scene. It argues that his interdisciplinarity, or “indiscipline,” was instrumental in building connexions and bridges between heterogeneous values, cultural protocols, and epistemological principles.
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Gibas, Kamil. "Bioethical strategies in the context of bioart." Panoptikum, no. 21 (December 18, 2019): 10–27. http://dx.doi.org/10.26881/pan.2019.21.01.
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The paper discusses topics such as bioart, in the perspective of a cultural phenomenon, present in contemporary Polish and world art. The space of contemporary art, which as a material of expression uses specialist knowledge in the field of bioengineering and tissue culture along with living material, has been a challenge for artists and analysts of art, culture, science and ethics for years. The activity of Eduardo Kac is recalled as well as the Polish bioartist, Karolina Żyniewicz. In her projects, the artist collaborates with scientists, building an interdisciplinary platform for the exchange of knowledge and experiences. These deliberations are supplemented with literature on bioethics: positions, opinions and other regulatory documents (The Committee for Bioethics PAS, the Council of Europe, CIOMS, UNESCO) in the context of non-medical and artistic activities.
 The paper is an attempt to find answers to questions about the way in which new bioethical regulations should be updated and formulated. What bioethical strategies should be taken in this historical moment of our time, where an artwork is both artistic and also strictly scientific?
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Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.
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Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged into one total work here, namely into a contemporary Gesamtkunstwerk. Poland is echoed in the Museum: e.g. the genuine name of the institution: ‘Muzeum Susch’ is a combination of Polish and German words; furthermore, the pieces presented in the collection are to a great extent made up of works by contemporary Polish artists; wooden walls of the Museum Café are decorated with prints showing the Zakopane ‘Under Fir Trees’ (Pod Jedlami) Villa. The question whether Grażyna Kulczyk’s collection has found its final home here, or whether it is still possible for it to return to Poland, continues open. The collector herself does not provide an unambiguous answer to this.
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Kwiatkowska-Tybulewicz, Barbara. "Edukacyjny potencjał Pawilonu Polonia na Biennale Sztuki w Wenecji: Halka/Haiti oraz Mały Przegląd." Kwartalnik Pedagogiczny, no. 66/3 (December 13, 2021): 7–29. http://dx.doi.org/10.31338/2657-6007.kp.2021-3.1.
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Poland has been actively participating for almost a century in one of the largest and most important artistic events in the world, the international exhibition of the Venice Art Biennale. This artistic event is visited by over a half a million people every two years, so it is worth considering its educational impact on the audience. The article presents two projects which were shown in the Polish Pavilion during the 56th and 57th Venice Art Biennale in 2015 and 2017: Halka/Haiti 18°48’05”N 72°23’01”W, created by C. T. Jasper and Joanna Malinowska and Sharon Lockhart’s Little Review. The author of the article describes, interprets and analyses the projects from a pedagogical perspective. The idea of art as an important tool for the transformation of man and the world can be found in pedagogy, in the area of knowledge about art, as well as in artistic activities. In the 21st century contemporary art is perceived as an important partner for pedagogy, but today pedagogy also becomes an inspiration for artists who more and more often use typically educational forms of activity in their artistic processes and appreciate the democratic, inclusive and emancipatory nature of educational practices. The aim of the article is to indicate the educational aspects of two art projects, which were presented in the Polish Pavilion in 2015 and 2017, taking into account their educational potential and the possibility of influencing both participants of the implemented activities and the secondary audience. The pedagogical perspective used by the author ranges from the theory of aesthetic education, through critical pedagogy, to the educational turn in contemporary art observed in the 21st century.
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Rybakowski, Janusz. "Lithium therapy in literature and art." Pharmacotherapy in Psychiatry and Neurology 36, no. 4 (2021): 271–84. http://dx.doi.org/10.33450/fpn.2020.12.002.
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Introduction. In 1949, Australian psychiatrist John Cade described a therapeutic action of lithium carbonate in mania. This date is regarded as an introduction of lithium into contemporary psychiatric therapeutics and the beginning of modern psychopharmacology. In the early 1960s, a prophylactic activity of lithium was observed, preventing recurrences of affective episodes in mood disorders. Lithium has become a prototype of the mood-stabilising drugs and remains a drug of the first choice for the prophylaxis of recurrences in bipolar mood disorder. Literature review. Both the introduction of lithium into psychiatric therapy and its therapeutic action has been reflected in literature and art. This article presents the connections of lithium therapy with literature and art. They pertain to such characters as John Cade, Salvador Luria, Patty Duke, Kay Jamison, Jerzy Broszkiewicz, Ota Pavel, Robert Lowell, Jaime Lowe, Nicole Lyons, Kurt Cobain, Sting, and the band Evanescence. Conclusions. Special attention was given to the book Unquiet mind, written in 1996 by Kay Jamison, professor of psychology. In the book, her personal bipolar disorder and lithium treatment were described from the viewpoint of the eminent professional. Polish translation of the book titled Niespokojny umysł already has two editions: in 2000 and 2018.
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Burke, M. "Advertising Aristotle: A Preliminary Investigation into the Contemporary Relevance of Aristotle’s Art of Rhetoric." Foundations of Science 13, no. 3-4 (2008): 295–305. http://dx.doi.org/10.1007/s10699-008-9133-z.
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Martin, Fred. "The Horse and the Cart: The Contemporary Artist and the Aesthetician." Empirical Studies of the Arts 13, no. 2 (1995): 119–30. http://dx.doi.org/10.2190/wtge-fm8u-7etu-dgdp.
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This informal survey of magazine covers and lead articles from Art in America 1990–1993 indicates new artistic forms such as advertising and photo journalism, new media such as digital imaging and installation, and new contents such as the politics of race, gender, and revolution, all of which may challenge the assumptions of both empirical and philosophical aesthetics.
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Stobiecka, Monika. "Perspektywy i wyzwania badań na styku archeologii i sztuki." Folia Praehistorica Posnaniensia 24 (December 15, 2019): 263–88. http://dx.doi.org/10.14746/fpp.2019.24.16.
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The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska.
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Mitan-Gawryszewska, Zofia. "Comparative Studies of Contemporary Polish and Lithuanian Literature – Problems and Prospects." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 202–11. http://dx.doi.org/10.37384/aplkp.2020.25.202.
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The aim of my article is to present the Polish perspective on the state of the art of comparative studies of contemporary Polish and Lithuanian literature. In my article, I discuss difficulties that contribute to the niche status of the field as well as phenomena that positively influence its development. First, I touch upon issues of hermeticity of the Lithuanian language and complicated relations between Poland and Lithuania. Then, I focus on the availability of Lithuanian literature in Poland and mention publications concerning it, written in Polish. I also emphasize the significance of translation endeavors. Next, I enumerate centers that conduct comparative studies of Polish and Lithuanian literature and introduce scholars-comparatists and their publications. I also present the accomplishments of some figures whose activity was significant for building Polish-Lithuanian dialogue on the level of literature and literary studies. I enumerate initiatives that provide new possibilities for the development of this field of studies and describe institutions which promote Lithuanian culture in Poland. In the end, I present possible directions for comparative studies of contemporary Polish and Lithuanian writings.
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Kominek, Mieczysław. "Karol Szymanowski’s Vision of New Polish Music." Polski Rocznik Muzykologiczny 19, no. 1 (2021): 104–17. http://dx.doi.org/10.2478/prm-2021-0004.
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Abstract In 19th-century Poland — under Russian, Prussian and Austrian rule at the time – the main goal of music was to promote revival and to stimulate patriotic feelings. Patriotic Polishness drawing on the country’s glorious past was to be the essence of music; modernity of the composer’s language was of secondary importance. Karol Szymanowski unceremoniously criticised this patriotic music as turned towards the provincial Polish tradition. According to Szymanowski, the criterion of Polish and at the same time “civilised musical art” was met only by Chopin. With the regaining of independence Polish art should free itself from patriotic didacticism and pay attention to aesthetic qualities, which was to eliminate the discrepancy between Polishness and Europeanness, between what was national and what was international, universal and European. The figure of Karol Szymanowski links our musical present, symbolised by the Warsaw Autumn International Festival of Contemporary Music, with the first years of independent Poland, for Warsaw Autumn realized Karol Szymanowski’s vision of modern Polish music. In this vision Polish music was a rightful element of European culture.
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Tes, Agnieszka. "Silence, Spirituality and Contemplative Experience in Contemporary Abstract Paintings. Analysis of Selected Examples." Perspektywy Kultury 31, no. 4 (2020): 207–24. http://dx.doi.org/10.35765/pk.2020.3104.14.
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In recent decades, there has been increasing interest in including the spiritual dimension in artistic practice and in discourse on art. This phenomenon seems to be universal but is definitely not homogenic. I examine it by referring to meaningful examples of abstract paintings from different cultural and religious backgrounds. I analyze artworks by two contemporary bicultural painters: the American-Japanese artist, Makoto Fujimura, and American-Iranian artist, Yari Ostovany. The Polish non-figurative artist Tadeusz G. Wiktor is also considered. Their oeuvre can be set within the larger context of great religious and spiritual traditions. I stress the influence of Oriental legacy in contemporary examples of abstract art. I investigate how the selected artworks refer to an invisible reality, and I focus especially on the silence they evoke. My aim is to show how contemporary non-figurative art can influence the viewer by creating a contemplative experience. I also place the selected artworks in the theoretical contexts presented by the artists themselves and refer to classical and contemporary texts.
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Żakiewicz, Anna. "IRENA JAKIMOWICZ: AN IDEAL MUSEOLOGIST." Muzealnictwo 61 (June 26, 2020): 110–16. http://dx.doi.org/10.5604/01.3001.0014.2491.
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Having studied history of art on clandestine Warsaw University courses run in 1943–1944, Irena Jakimowicz (1922–1999) graduated in 1951. In 1945–1991, she worked at the National Museum in Warsaw, initially in the Educational Department, from 1953 in the Polish Graphic Arts Department, out of which in 1958 she selected works executed after 1914, turning them into the Department of Graphic Arts and Contemporary Drawings which she headed as curator. Until early 1982, the Department formed part of the Gallery of Contemporary Art, yet it subsequently gained autonomy as the Cabinet of Graphic Arts and Contemporary Drawings curated by Irena Jakimowicz. Jakimowicz mounted some dozens exhibitions, mainly monographic ones of Polish contemporary artists, e.g. Bronisław Wojciech Linke (1963), Zygmunt Waliszewski (1964), Feliks Topolski (1965), Wacław Wąsowicz (1969), Tadeusz Kulisiewicz (1971), Konstanty Brandel (1977), Henryk Gotlib (1980), Stanisław Ignacy Witkiewicz (1989/1990). All the exhibitions were accompanied by reasoned catalgoues. Furthermore, Jakimowicz authored several cross-sectional, such as ‘Within the Circle of the Rembrandt Tradition’ (1956), ‘From Young Poland to Today’ (1959), ‘Polish Contemporary Graphic Arts 1900–1960’ (1960), ‘The Formists’ (1985), ‘Five Centuries of Polish Prints’ (1997). In 1970, she defended her doctoral dissertation dedicated to the collector Tomasz Zieliński. Moreover, she authored many papers, reviews, and books, e.g. Witkacy – Chwistek – Strzemiński (1976), Witkacy Malarz [Witkacy the Painter] (1985), Jerzy Mierzejewski (1996). She was a wonderful Boss: demanding, but strict with herself, too. Attentive to her employees’ development, she could appreciate and use their abilities to their own benefit and to the benefit of their institution. Those who had the privilege and pleasure of cooperating with her, recall her with admiration saying what a likeable person she was.
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Urdiales-Shaw, Martín. "Between Transmission and Translation: The Rearticulation of Vladek Spiegelman's Languages in Maus." Translation and Literature 24, no. 1 (2015): 23–41. http://dx.doi.org/10.3366/tal.2015.0182.
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This article examines the ways in which languages occur in the discourse of Auschwitz survivor Vladek Spiegelman, both in the graphic memoir Maus and in the interview transcripts used by Art Spiegelman as original oral source for his father's story. Drawing from contrastive analyses of the ocurrences of German, Nazi-Deutsch, Polish, and Yiddish in context, this essay proposes that, in his use of foreign vocabulary, the voice of Vladek as character in Maus has been to a degree reinscribed and ‘translated’ by Art Spiegelman. Instances of the reinscription of Vladek's languages include the foreignization of English through Polish, the rehistoricizing of a personal testimony through the collective discourse of Holocaust historiography (in German and Nazi-Deutsch), and the juxtaposition of traditional and contemporary linguistic usages (in Yiddish).
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Chatenet, Ludovic, and Anne Beyaert-Geslin. "From communication to art: McDonald’s and flat design." Comunicação e Sociedade 31 (June 29, 2017): 391–402. http://dx.doi.org/10.17231/comsoc.31(2017).2625.
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The status of communication objects or images always changes. This paper proposes to observe this phenomenon from a semiotics point of view in order to analyse how a brand reinvents its visuals and how this reinvention is related to a new marketing strategy. In fact, this paper tries to show how meaning of posters reveals the importance of brands in contemporary everyday life. We will show that the ads created by TBWA for McDonald’s 2015 campaign are rather considered as an aestheticisation project than an artisticisation. While inspired by the brand’s “mythologic” history and pushing properties of the product into the background, flat design exemplifies the latest forms of life to date. Therefore, brands seem more involved and rooted in social life as their communication strategy is rather based on gathering a community than advertising their products. Visual ads are hence absorbed by an aestheticisation practice, specific to connected life, from which they adopt the norms. As it remains distinctive, art also maintains its criticizing position and Murakami’s superflat thus discloses a certain disenchantment concealed in standardised designs.
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Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)." Ikonotheka 26 (June 26, 2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.
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The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Smolik, Bartosz. "Współczesne nurty polskiej myśli nacjonalistycznej — próba podziału w aspekcie kategorii „tradycji”." Wrocławskie Studia Politologiczne 21 (March 14, 2017): 52–66. http://dx.doi.org/10.19195/1643-0328.21.4.
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Contemporary currents of the Polish nationalist thought —an attempt at division in terms of the category of “tradition”This article aims at outlining the method of dividing the Polish political thought. For this purpose the category of “tradition” is used “Tradition” is perceived by the author as a type of conscious and reflective choice of achievements of the past made in the present. Based on “tradition” the author distinguishes the following currents of the Polish nationalist thought: the current of Neo-National Democracy, the current of National Radicalism, the Catholic National current, as well as the Progressive current and the current of Slavonic Neo-Paganism. Apart from political thought the tradition of Polish nationalism also includes political movement issues, literature and art. An important role in the reception and transmission of “tradition” to contemporary times is played by its guardians, which means people who endeavor to pass it on in a form desired by them.