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Journal articles on the topic 'Polish art'
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1
Wiercinska, Janina. "The Polish Art Bibliography." Art Libraries Journal 16, no. 01 (1991): 7–9. http://dx.doi.org/10.1017/s0307472200018897.
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The need to document the history of art in Poland, and to provide a bibliographic record of, and access to, that documentation, is felt the more keenly because Poland’s cultural heritage has been so vulnerable to the ravages of history. The Polish Art Bibliography 1801-1944, a labour of love dating back to 1951, existed for many years as a constantly expanding card index at the Institute of Art of the Polish Academy; publication in a series of volumes began with Volume I Part 1 in 1975, and brought with it problems of editing and selection. Volumes II and III have followed; Volume IV, devoted to architecture, is in preparation.
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Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.
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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.
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Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.
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Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
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Stanik, Mariusz. "UWAGI DO WYKŁADNI ART. 19 UST. 1 USTAWY O KINEMATOGRAFII." Zeszyty Prawnicze 11, no. 3 (2016): 335. http://dx.doi.org/10.21697/zp.2011.11.3.17.
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Comments to the Interpretation of art. 19 Clause 1 of the Cinematography ActSummary The text describes a dispute between entities conducting cinemas and film distributors regarding the interpretation of art. 19 clause 1 of the Cinematography Act. The dispute concerned the question whether under the aforementioned provision film distributors are obliged to participate in financing the fee towards Polish Film Art Institute. Analysis of this issue is based on the Warsaw District Court and Appeal Court judgments issued in 2008 and 2009. Analysis also takes into consideration the stenographic records of the parliamentary committee working under the Cinematography Act and interpretation of art. 19 clause 1 of the Cinematography Act made by Polish Film Art Institute itself. In conclusion the author states that according to art. 19 clause 1 of the Cinematography Act the only entities obliged to finance and pay the fee towards Polish Film Art Institute are entities conducting cinemas. Possible changes in this scope may be made only under the appropriate provisions of civil law agreements between such entity and film distributor.
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Ewa Chwojko-Srawley. "Polish Footprint on Canadian Art." Polish Review 63, no. 1 (2018): 49. http://dx.doi.org/10.5406/polishreview.63.1.0049.
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Durek, Ewa. "Exporting art under Polish law." Annales Universitatis Paedagogicae Cracoviensis. Studia de Securitate 13, no. 2 (2023): 171–82. http://dx.doi.org/10.24917/26578549.13.2.10.
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One of the best ways to promote an artist is to sell his work to a famous, international collection. There are strong voices in law and art economy, claiming that Polish legal regulation regarding art export is unnecessarily strict and complicated, which results in suppressed promotion of arts and cultural development. In the following article, I am exploring this problem by analyzing current Polish legal regulations as well as contemporary cases relevant to the topic. I am also investigating the problem by delving into Polish history, especially the aftermath of the Swedish Deluge and World War II, which both resulted in looting and destruction of Polish cultural heritage on a catastrophic scale. I determine that Polish legal regulations regarding art export are, in fact, on the strict side and are constructed to keep cultural heritage inside the borders. However, this approach is completely justified by the cultural and political climate in which those regulations were conducted. That being said, more than half a century after the last major art looting that took place on Polish grounds, it is time to reevaluate and adjust some of the legal regulations. I conclude my article with the proposition of expanding autonomy for the museum’s board of directors in dealing with exhibits under their care.
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Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.
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The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philosopher and art historian, but also an exhibition curator and director of TOSSPO (the Association for the Promotion of Polish Art Abroad), who faced a very difficult task trying to fulfil his mission to promote Polish art through exhibitions. He had to take into account this artistic climate and the dynamically changing situation on the art market, and respond to the expectations of foreign critics, who would examine the art of particular nations with the focus on manifestations of national style. On the other hand, he had to consider the opinions of the Polish artists and critics as well as pressures from the ministry and Polish diplomats
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Jaworski, Marcin. "Popular Author of Popular Art." Creativity. Theories – Research - Applications 3, no. 1 (2016): 118–26. http://dx.doi.org/10.1515/ctra-2016-0009.
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AbstractThe article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad historical, political and social context, can be used in the analyses of artistic accomplishments of other authors of Polish comics. The presented study addresses the need for scientific explorations in this field, but also for raising the value of those parts of Polish modern culture which were marginalised as ‘worse’ for many years, first for political reasons, then for cultural ones. It appears that the time has come to examine critically the artistic creativity of important figures of Polish popular culture (in this case of comics) objectively and without ideological prejudice, and recognise them as full authors of Polish culture. Jerzy Wróblewski is among them and that is why the book is about him.
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Mossakowski, Stanisław. "Polish Art—Between Universal and Native." Dialogue and Universalism 17, no. 5 (2007): 27–42. http://dx.doi.org/10.5840/du2007175/629.
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Kowalewska, Marta, Michał Jachuła, and Irena Huml. "The Polish School of Textile Art." TEXTILE 16, no. 4 (2018): 412–19. http://dx.doi.org/10.1080/14759756.2018.1447074.
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Gunkel, Ann Hetzel. "Ethnic Aesthetics: Considering Polish-American Art." Polish American Studies 66, no. 1 (2009): 5–24. http://dx.doi.org/10.2307/20533156.
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Budzinska, Elzbieta. "Art libraries in Poland." Art Libraries Journal 16, no. 01 (1991): 4–6. http://dx.doi.org/10.1017/s0307472200018885.
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Most art libraries in Poland are in fact sections of libraries of more general scope. In the case of the National Library of Warsaw, although material on Polish art is represented in the collections there is no art section as such. Other art library collections include the library of the Institute of Art of the Polish Academy, the ‘Cabinets of Illustrations’ within other libraries attached to the Polish Academy in various cities, departmental libraries in universities and technical universities, and libraries of museums and of learned and professional societies. Public libraries disseminate information on the arts and often organise arts activities; the Art Section of the Warsaw Public Library is among the most important art library collections in the country. Although public libraries join in cooperative arts ventures, art libraries in Poland have not yet begun to work together, and so far there is no professional organisation especially for art librarians.
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Szostak, Michał. "Digitalisation and Virtualisation of the Aesthetic Situation Management: Polish Musical Art Creators during the COVID-19 Pandemic." Journal of Intercultural Management 14, no. 2 (2022): 41–65. http://dx.doi.org/10.2478/joim-2022-0006.
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Abstract Objective: The characteristics of the creative process in musical arts depends on the form in which the aesthetic situation concerning musical arts takes place (traditional in-person or virtual with digital solutions) dangling on the nationality of the musical art creator: Polish versus non-Polish. The following research questions were asked: 1) How do the forced virtualisation and digitisation affect the quality of the creative process within the aesthetic situation between Polish and non-Polish musical art creators? 2) Which qualitative parameters of the aesthetic situation are lost and which are gained in connection with the creative process virtualisation in the eyes of Polish and non-Polish musical art creators? Methodology: Qualitative, in the forms of literature review and interviews. Findings: The study reveals differences in the traditional and virtual creative process between Polish and non-Polish musical art creators. The general differences are insignificant; however, particular components are concerned with essential discrepancies. Value Added: A new approach to the creative process in musical arts depending on the traditional and virtualised forms of the aesthetic situation. This study can have practical implications for: 1) musical art creators to form their perception of the creative process; 2) musical art managers to form their perception of the complex nature of the creative process of musical art groups they manage; 3) musical art institution managers to form their perception of the multifaceted nature of the creative process of musical art creators involved in the institutions they manage; 4) sociologists looking for deeper understanding of the creative process in musical arts. Recommendations: Perspectives of the research can be large-scale research based on the methodology invented for this paper and more focused research investigating art creators from different countries, regions, and cultures, divided by age, gender or the extent of artistic experience.
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Kremer, Andrzej. "ZAWARCIE ZWIĄZKU MAŁŻEŃSKIEGO PRZED KONSULEM (WYBRANE ZAGADNIENIA)." Zeszyty Prawnicze 7, no. 1 (2017): 177. http://dx.doi.org/10.21697/zp.2007.7.1.10.
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Contracting A Marriage before a Consul (Some Legal Aspects)SummaryThe possibility of being married before a consul has been created both by the regulations of international public law, particularly by the Vienna Convention on Consular Relations, as well as by the Polish law, including especially art 26 of the Act of the 13th Feb. 1984 on the Functions of a Consul of the Republic of Poland and art 1 § 4 of the Family and Guardianship Code as well as art. 60 of The Law on the Certificates of a Civil Status. These regulations entitle Polish citizens staying abroad to get married before a Polish consul. Nevertheless, they do not impose such a form of contracting a marriage.A man and a woman, who are Polish citizens staying abroad, can get married before a Polish consul or the other person designated to perform the functions of a consul. Such an opinion can be confirmed on the basis of current legal regulations. N obody doubted that art. 2 of the Family and Guardianship Code in its previous form confirmed that Polish citizens staying abroad could get married in accordance with lex loci celebrationis matrimonii being valid in the state of stay or before a Polish consul.It is always possible to choose between contracting a marriage according to the regulations of the state of stay before a local civil officer or before a consul. The only im portant condition for contracting a marriage before a consul is that it is not contrary to the laws of the state of stay of the people getting married.
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Kudasik-Gil, Emilia. "Legal Status of a Non-Profit Organization and Its Impact on the Mode of Initiating Proceedings under Art. 7 (3) of the Polish Animal Protection Act." Przegląd Prawa Administracyjnego 2 (November 29, 2020): 69–80. http://dx.doi.org/10.17951/ppa.2019.2.69-80.
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The article focuses on the issue of the legal status of a non-profit organization, whose statutory purpose is to protect animals in the administrative proceedings under Art. 7 (3) of the Polish Animal Protection Act, which is the subject of discrepancy of interpretations in the jurisprudence of administrative courts. The institution of temporary collection of an animal regulated in Art. 7 (3) of the Polish Animal Protection Act is of fundamental importance for humanitarian protection of animals in Poland. In theory it consists of taking away the mistreated animal from its owner and subsequent confirmation of that fact through the administrative decision issued by the executive body of the municipality. The study deals with the problem of its legal interest in the proceedings and, as a consequence, it analyses its position as a party or entity as a party in the proceedings. Determining the status of a non-profit organization in proceedings is crucial for resolving another problem raised in the article, namely the mode in which proceeding under Art. 7 (3) of the Polish Animal Protection Act is being initiated.
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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Dąbrowska, Magdalena. "Polska – Rosja: Sztuka dialogu, dialog sztuki. (Польская художественная культура в историческом и современном контексте. Oтв. ред. с российской стороны И. Светлов. Oтв. ред. с польской стороны И. Люба. Москва: Гнозис, 2021, 624 с.)". Studia Rossica Gedanensia, № 9 (31 грудня 2022): 255–62. http://dx.doi.org/10.26881/srg.2022.9.14.
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Poland and Russia: the art of dialogue, the dialogue of art The paper presents the book titled “The Polish Artistic Culture in the Historical and Modern Context”, published in Russian in 2021 (Moscow, GNOZIS, 624 pages). The book contains works by 32 Polish and Russian scholars (culture studies specialists, art historians, literature experts and others), devoted to the Polish art, most often in comparison with similar phenomena in the Russian art. It also discusses painting, sculpture, architecture, theatre, film and literature. The editors of the book are: Igor Svetlov (Russia) and Iwona Luba (Poland).
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Rybak-Karkosz, Olivia. "Criminal Liability for Forgery of Print in Polish Legislation." Wroclaw Review of Law, Administration & Economics 12, no. 1 (2022): 77–90. http://dx.doi.org/10.2478/wrlae-2022-0005.
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Abstract This paper aims to outline relevant legal problems of domestic legislation in aspects such as evidence difficulties, the so-called legalisation of forgery, and choosing the legal qualification of forgery of print. The doctrine for many years has postulated (and still does) the increase of protection of works of art from crimes such as forgery would increase the safety and fair trade on the art market. However, legislators tend to omit this problem. So, the other possible acts are: the Polish Criminal Code, Act of 23 of July 2003 on the Protection and Guardianship of Monuments, and Act of 16 of April 1993 on Fair Trade. Each of these acts are analysed in the context of its evidential requirements to find the most useful one. The choice of a legal action depends on whether the work of art (print) is considered a monument as in the definition included in the Act on the Protection and Guardianship of Monuments. We then compared our results with cases prosecuted in Poland.
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Szczerski, Andrzej. "Sztuka i architektura dla II Rzeczypospolitej." Prace Historyczne 147, no. 4 (2020): 869–81. http://dx.doi.org/10.4467/20844069ph.20.049.12503.
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Art and architecture for the Second Polish Republic The period of the Second Polish Republic was a time of dynamic processes of unification and modernisation. They were also reflected in art and architecture. This should not come as a surprise given the fact that Polish artists were involved in the struggle for independence on the battlefields, while they also documented Polish military efforts during the World War I. Later on, they held positions in the state administration, especially in the administrative structures responsible for art patronage and education; finally, they were also active in the field of national propaganda. The authorities of the Second Polish Republic appreciated the importance of modern art, especially that the restoration of independence coincided with a debate about the various definitions of the Polish national style. This debate, which involved supporters of vernacular stylisation and those who promoted modernism, found its complex reflection in the Polish General Exhibition in Poznańin 1929. The exhibition confirmed that the leading role in the process of modernisation was assumed by architecture and urban planning.
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Niegierewicz-Biernacka, Adrianna. "Introduction of Art. 276a of the CCP as a Result of the Impact of the SARS-CoV–2 Pandemic on the Criminal Trial." Białostockie Studia Prawnicze 26, no. 6 (2021): 185–204. http://dx.doi.org/10.15290/bsp.2021.26.06.11.
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Abstract One of the consequences of the coronavirus pandemic (SARS-CoV–2) in the context of the impact on the Polish criminal trial was the introduction to the Code of Criminal Procedure of a new preventive measure related to the protection of medical personnel, specified in the new editorial unit – Art. 276a of the CCP. This measure was introduced by the Act of March 31, 2020, amending the Act on special solutions related to the prevention, counteraction, and combating of COVID-19, other infectious diseases and the crisis situations caused by them, and some other acts, and is a novelty in the Polish criminal procedure. The purpose of this article is to investigate a new preventive measure defined in Art. 276a of the Code of Criminal Procedure in terms of the legitimacy of its introduction to the Polish Code of Criminal Procedure. Three research problems will be analysed. The first concerns the extent to which the introduction of the new preventive measure under Art. 276a of the Code of Criminal Procedure was necessary in terms of the need to provide special protection to medical personnel in Poland. The second research problem concerns the extent to which the application of the new preventive measure under Art. 276a of the Code of Criminal Procedure corresponds to the assumptions of the Polish legislator and what is the ratio legis of the analysed regulation. The third research problem boils down to the extent to which the amendment to Art. 276a of the Code of Criminal Procedure corresponds to the rules of legislative technique.
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Labuda, Adam S. "Michała Walickiego i Juliusza Starzyńskiego „Dzieje sztuki polskiej” w II Rzeczypospolitej. Zachód, Polska, Wschód." Artium Quaestiones, no. 30 (December 20, 2019): 339–65. http://dx.doi.org/10.14746/aq.2019.30.21.
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Writing an academic history of Polish art was an urgent task of art historians after World War I, when the country regained its political independence. An important and creditable achievement in that respect was a study by Michał Walicki and Juliusz Starzyński, published in 1934 as a kind of supplement to the monumental Geschichte der Kunst von der altchristlichen Zeit bis zur Gegenwart by the Marburg historian Richard Hamann, translated at that time into Polish. In 1936, the work of the Polish scholars was published again in the form of a separate book. The paper focuses on three problems that were addressed in it: the cultural and artistic ties of Poland to the West, the vernacular features of Polish art, and the presence of the “Eastern art” in Polish artistic heritage. The author examines also the question whether those issues were related to the political, social, and cultural reality of the Second Polish Republic.
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Labuda, Adam S. "“A History of Polish Art” by Michał Walicki and Juliusz Starzyński in Poland between the World Wars. The West, Poland, the East." Artium Quaestiones, no. 30 (December 20, 2019): 65–91. http://dx.doi.org/10.14746/aq.2019.30.4.
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Writing an academic history of Polish art was an urgent task of art historians after World War I, when the country regained its political independence. An important and creditable achievement in that respect was a study by Michał Walicki and Juliusz Starzyński, published in 1934 as a kind of supplement to the monumental Geschichte der Kunst von der altchristlichen Zeit bis zur Gegenwart by the Marburg historian Richard Hamann, translated at that time into Polish. In 1936, the work of the Polish scholars was published again in the form of a separate book. The paper focuses on three problems that were addressed in it: the cultural and artistic ties of Poland to the West, the vernacular features of Polish art, and the presence of the “Eastern art” in Polish artistic heritage. The author examines also the question whether those issues were related to the political, social, and cultural reality of the Second Polish Republic.
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Białowąs, Sylwester, Tomasz Potocki, and Anna Rogozińska. "Financial returns and cultural price determinants on the polish art market, 1991–2012." Acta Oeconomica 68, no. 4 (2018): 591–615. http://dx.doi.org/10.1556/032.2018.68.4.6.
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The paper investigates the price determinants, risk/return characteristics and investment performances of the Polish art market. Special attention is given to cultural and historical determinants underlying the creation of the Polish art market after 1989 and the dynamics of changes in the first two decades after the system transition. Data from auction annuals during the years from 1991 to 2012 and repeat-sales regression (RSR) method are used to create the index of 28,951 art transactions. Based on the art index values, we observe that the art index for the Polish auction market exhibits similar returns to the ones on treasury bonds and much lower returns than the ones on the Polish stock and gold prices. The volatility of the art index is, what is striking, much lower than the volatility of stocks, comparable to gold prices and much higher than the volatility of treasury bonds. Moreover, high correlation between art and money market instruments suggests a limited portfolio diversification opportunity.
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Janiszewska-Jakubiak, Dorota. "JACEK MILER 1964–2018. AN ART HISTORIAN WHO BECAME A CIVIL SERVANT." Muzealnictwo 60 (August 22, 2019): 199–206. http://dx.doi.org/10.5604/01.3001.0013.3655.
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Working over 25 years within the changing organizational structures of the Ministry of Culture and National Heritage, he actively contributed to the protection of Polish cultural heritage beyond Poland and the restitution of Polish art works lost during WW II. He cocreated museums dedicated to illustrious Poles: to Juliusz Słowacki in Krements, and to Joseph Conrad – Józef Korzeniowski in Berdychiv, both in Ukraine, as well as to Witold Gombrowicz in Vence, France. He focused on the provision of the institutional system of the preservation of Polish cultural heritage, involving in elaborating donation programmes: Protection of the Cultural Heritage Abroad, Memorial Sites Abroad, Investigation of Polish Wartime Losses, as well as in the establishment of the permanent support to Polish émigré institutions protecting national heritage assets. He participated in the legislative process of the Act on the Restitution of National Cultural Assets of 25 May 2017 and the Act of 12 April 2018 on the Amendments to the Act on Organizing Cultural Activity whose provisions allow to support cultural institutions founded abroad by Polish migrants. As of the mid-1990s, he was involved in the works of numerous committees and expert teams dealing with the protection of shared cultural heritage, e.g. Polish-Belarusian Consultancy Committee on National Heritage, Intergovernmental Polish-Ukrainian Committee for the Protection and Return of Goods Lost and Illegally Displaced during WW II, and the Polish-Lithuanian Group of Experts for the Preservation of Cultural Heritage. For his outstanding merits for the protection of Polish cultural heritage he was awarded many state honours, medals and prizes, this both during his lifetime and posthumously.
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Krypczyk-De Barra, Aleksandra. "Jewish Art Collectors in Poland and the Works of Maksymilian Gierymski before World War II." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (2020): 51–67. http://dx.doi.org/10.3828/aj.2020.16.5.
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From the end of the nineteenth century and up to the beginning of World War II, many of Maksymilian Gierymski’s (1846-1874) works were part of the collections of respected Jewish collectors, including Maksymilian Adam Oderfeld, Edward Rejcher, Stanisław Rotwand, Adolf Peretz, and Abe Gutnajer. They combined buying Polish art with providing financial support for many Polish cultural institutions. Thanks to these collectors the Polish public had better knowledge of Gierymski’s art. They bought his works at a time when the best examples of his oeuvre were abroad. 1939 was a tragic turning point for their activity. Collections were destroyed or stolen, including Gierymski’s work, and most of these items were not catalogued. Nevertheless, the collectors’ knowledge, passion, and expertise raised the bar for standards in Polish art collecting generally. The forgotten activity of Poland’s Jewish collectors is an essential part of the history of nineteenth-century Polish art.
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Majewski, Piotr Bolesław. "The Janus Face of Polish Cultural Diplomacy in Paris during the Khrushchev Thaw." Arts 13, no. 1 (2023): 7. http://dx.doi.org/10.3390/arts13010007.
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The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland’s communist authorities, while the other remained unofficial, relying on a network of contacts with Poland’s government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura (“Polish-based Culture”) and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences?
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Nowakowska-Sito, Katarzyna. "W poszukiwaniu niepodległości w sztuce: Pawilon polski na wystawie paryskiej 1925." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 185–98. http://dx.doi.org/10.15290/idea.2018.30.1.14.
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After reappearance of Poland on the map of Europe in 1918, the first major manifestation of the new country’s creative potential was at the 1925 International Exhibition of Applied Arts and Modern Industry in Paris. The Polish Pavilion, which had divided the opinion of critics at home, won the Grand Prix. The award of over 170 prizes to the Polish section in different areas and categories – from posters to art schools – gave ample reason to consider the exhibition an unquestionable success. The forms used in the architecture and interior design of the Polish Pavilion inspired various solutions applied in Polish public architecture of the 1920s. On the wave of the “Paris success” designers tried to translate the Polish variety of art deco into a type of national style which some scholars even came to refer to as the “style of regained independence” which manifested itself in architecture, particularly in interior design, bas reliefs, painted decorations textiles and furniture. Its emergence coincided with the introduction of new education methods in art and craft schools. The text discuss the Polish art deco style in context of two basic currents of interwar years: modernity and tradition. The problem of “Polishness” in art relates also to the concepts of interwar culture and visons of its progress or decadence.
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Franc, Małgorzata. "Training of Artists or Artisans?" ART Space, no. 3 (2018): 8–11. http://dx.doi.org/10.28925/2519-4135.4.2018.3.2.
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The article analyses the situation in Polish art education after 1990. It is indicated that higher art education in Poland can be obtained in eighteen universities and five affiliates in eleven Polish cities. The complex situation of higher art education is examined. The role of applied arts is noted.
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Małecki, Mikołaj. "Euthanathic Homicide: Ending of Life or Shortening of Dying?" Białostockie Studia Prawnicze 28, no. 3 (2023): 109–23. http://dx.doi.org/10.15290/bsp.2023.28.03.05.
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Abstract The subject of the article is the analysis of Art. 150 of the Polish Criminal Code – criminal liability for euthanasia. The paper presents arguments indicating a narrow understanding of Art. 150 of the Polish Criminal Code that it penalizes only extreme cases of shortening the dying of a human being. Some arguments for the claim that Art. 150 of the Polish Criminal Code covers a wide spectrum of situations, not limited to accelerating the dying process of the victim, has been also presented. As a result, it has been clarified that the provision of Art. 150 of the Polish Criminal Code applies to all situations of ending the human life at the request of he or she and under the influence of compassion for her or him.
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Chodyński, Antoni Romuald. "Ivory Works of Art in Polish Collections." Museum International 40, no. 2 (1988): 111–13. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00738.x.
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Alichniewicz, Anna, and Monika Michałowska. "Challenges to ART market: a Polish case." Medicine, Health Care and Philosophy 18, no. 1 (2014): 141–46. http://dx.doi.org/10.1007/s11019-014-9573-x.
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Dębska, Monika Magdalena, and Maciej Dębski. "Sytuacja prawna pracowników powyżej pięćdziesiątego roku życia." Prawo Kanoniczne 54, no. 3-4 (2011): 367–85. http://dx.doi.org/10.21697/pk.2011.54.3-4.14.
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Non-discrimination of treatment – also on the grounds of age – is a fundamental rule of Polish labour legislation. That rule is expressed in art. 32(2) of the Polish Constitution, art. 1 of Directive 2000/78/EC and art. 113 of the Polish Labour Code. According to art. 6 of Directive 2000/78/EC, art. 183b § 2 of the Polish Labour Code and ECJ case law, exceptions from that rule are permissible if they are justified by a legitimate aim and if the means of achieving that aim are appropriate and necessary. These exceptions include the legitimacy of termination of employment relationships with workers for the sole reason of their reaching the age of retirement. Indeed, such termination can be justified by employment policy. On the other hand, by virtue of art. 39 of the Labour Code, during four years prior to reaching retirement age workers benefit from the so-called protection period, which – with some exceptions – prohibits termination of their employment contracts or work and pay agreements. On October 17th, 2008, the Polish government adopted a program named Solidarity of generations – action for Increasing Occupational activity of Persons aged 50+, within which professional development training and apprenticeship programs were opened to people aged 50 and over, and legislation was introduced to promote their employment.
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Napiórkowska, Anna. "Zwrot świadczeń nienależnych w prawie ubezpieczeń społecznych — wybrane zagadnienia." Przegląd Prawa i Administracji 109 (November 8, 2017): 55–69. http://dx.doi.org/10.19195/0137-1134.109.4.
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RECOVERY OF UNDUE BENEFITS IN THE SOCIAL INSURANCE SCHEME — SELECTED ISSUESThe article refers to the selected issues of the recovery of undue benefits in the social insurance scheme. Initially, the subject matter of the analysis is the recent modification of the art. 84 of the Act of 13 October 1998 on the social insurance system. It is argued in the article that there are not persuasive arguments why the recent change — introducing the limit for handing down adecision for the Polish Social Insurance Institution art. 84 [7a] of the Act on the social insurance system — does not relate to the contribution payer or the other persons enumerated in the art. 84 6 of the Act on the social insurance system. Furthermore, the paper analyses the notion of the undue benefit in the social insurance scheme and the issues of the instruction. In the article there are emphasized some questions referring to the explanatory proceedings conducted by the Polish Social Insurance Institution ZUS and the issues of the relations between the art. 84 1 and 6 of the Act on the social insurance system. In the conclusion the article analyses the relations between the art. 84 of the Act on the social insurance system and the special regulations, i.e. art. 138 of the Act of 17 December 1998 on pensions from the Social Insurance Fund and art. 66 of the Act of 25 June 1999 on cash social insurance benefits in respect of sickness and maternity.
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Baran, Krzysztof W. "ANTI-CRISIS ARRANGEMENTS IN THE POLISH LABOUR LAW SYSTEM." Roczniki Administracji i Prawa 3, no. XXIII (2023): 311–20. http://dx.doi.org/10.5604/01.3001.0053.9533.
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In the conditions of economic recession that affects the financial standing of employers, social dialogue instruments that enable them to continue to function are very important. In the Polish labour law system, the main instruments are agreements that suspend the application of the provisions of labour law (Art. 9(1) of the Labour Code), and agreements made to apply conditions of employment that are less favourable than the conditions specified in the contracts of employment (Art. 23 (1a) of the Labour Code). Both these types of agreements have de lege lata the status of labour law sources as defined in Art. 9 (1) of the Labour Code, because they are based on a statutory act, and regulate the rights and obligations of the parties to the labour relationship. In both cases, in their consequences, these agreements limit the financial and social benefits for the employees.
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Mozgawa-Saj, Marta. "PUNISHABLE FAILURE TO REPORT A CRIME IN THE POLISH PENAL LAW." Scientific works of National Aviation University. Series: Law Journal "Air and Space Law" 3, no. 68 (2023): 230–36. http://dx.doi.org/10.18372/2307-9061.68.17997.
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Purpose: conducting an analysis of statutory elements of the crime described in art. 240 of the Polish Penal Code (punishable failure to report a crime). Methods: the basic method employed in the analysis is the legal dogmatic method. Results: the analysis indicates that in the event of art. 240 of the Penal Code, the protected object is the judiciary in criminal matters. The duty to report criminal offences (those enumerated in the provision under consideration and terrorist offences) is imposed on anyone who has credible knowledge of the criminal preparation or attempt or commission of such a criminal act. Such a report, addressed to the authority appointed to prosecute criminal offences, must be made promptly. It is a formal offence (not characterized by its effects), individual as to the act, which can be committed in both forms of intent (dolus directus and dolus eventualis). The criminal legislation provides for three cases of exclusion of criminal liability for an offence under art. 240 (specified in art. 240 § 2, 2a and 3). Discussion: there are doubts whether the catalogue of crimes covered by the denunciation obligation is too broad or not. Differences in interpretation arise in the context of a conflict between the need to keep professional secrecy and the obligation to denounce under art. 240 of the Penal Code.
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Juszkiewicz, Piotr. "Identity and Reception. Polish Research on Victorian Art and Art Theory." Journal of Victorian Culture 12, no. 2 (2007): 314–19. http://dx.doi.org/10.3366/jvc.2007.12.2.314.
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Cubrzyńska-Leonarczyk, Maria. "«Najszlachetniejszy ze wszystkich znaków własnościowych». Na marginesie lektury książki Arkadiusza Wagnera: Superekslibris polski. Studium o kulturze bibliofilskiej i sztuce od średniowiecza do połowy XVII wieku." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 453–70. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.48.
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The article results from a critical lecture of the book, written by the art historian and bibliologist Arkadiusz Wagner from Toruń 2016. This is the first in Polish academic literature complete monography of supralibros within the Polish Crown and the Great Duchy of Lithuania, since medieval ages up to the mid of 17th century. Wagner describes Pollish history of «the noblest of all bookplates» within a context of bibliophile culture and art in Poland and Europe. Author of the review refers critically to the structure and geographical scope of the text (omission of the Pomerania and Silesia), to the definition of „supralibros” or other terms used by A. Wagner. However, she concluded that her remarks do not detract value of the book, which seems to stay valid in next decades and become a fundament of further researches.
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Mazurkiewicz, Michał. "Motywy sportowe w polskiej sztuce międzywojennej — rekonesans." Literatura i Kultura Popularna 22 (September 6, 2017): 75–89. http://dx.doi.org/10.19195/0867-7441.22.5.
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Sports Motifs in Interwar Polish Art — a ReconnaissanceSport is an important cultural phenomenon permeating many spheres of human activity. It has a great strength of influence and is constantly present in art and literature, also in Poland. Artists, especially the ones being lovers of sport, have always been fascinated with the potential existing in different kinds of games. After regaining independence in 1918, physical activity enjoyed great popularity in the awakening Polish state. Sport was seen as achance of broadly understood renaissance of the nation; in addition, its role in preparing the army to fight in the times of still real threats was appreciated. A positive influence of sport on youth was also seen. It also entered the world of art. The aim of this paper is to present Polish artists inspired by sport, also including laureates of the Art Competitions at the Summer Olympics, like for example poet Kazimierz Wierzyński, painter Władysław Skoczylas or sculptor Józef Klukowski. The author analyses both their motivations and the artistic output. The examination is preceded by an introduction showing the beginnings of Polish art inspired by sport and entertainment, whose elements one will find for example in the case of Leon Wyczółkowski or Wojciech Kossak, as well as the beginnings of sports literature. The history of the presence of sport in Polish art and literature is quite rich. The research enquired exploration of the history of Polish antebellum sport, looking over the works of artists interested in sport, as well as familiarising oneself with numerous publications devoted to this phenomenon.
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Burdziak, Konrad. "Przeciwdziałanie przemocy domowej – kilka uwag w kontekście środków przewidzianych w art. 275a § 1 i 3, art. 275 § 3 oraz art. 244 § 1a i 1b Kodeksu postępowania karnego." Prawo w Działaniu 57 (2024): 62–88. http://dx.doi.org/10.32041/pwd.5703.
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The paper attempts to answer the question whether the authorities applying the measures under Article 275a § 1 and 3, Article 275 § 3 and Article 244 § 1a and 1b of the Polish Code of Criminal Procedure have relevant competences and/or methods allowing them to adequately apply the measures stipulated for in those provisions. The author has primarily employed the legal-dogmatic method in the research. The analysis has found that: (1) the authorities applying the measures under Article 275a § 1 and 3, Article 275 § 3 and Article 244 § 1a and 1b of the Polish Code of Criminal Procedure currently do not have at their disposal the competences and/or the methods allowing them to adequately apply the measures stipulated for in those provisions; (2) the methods applied by the Polish authorities, on decisions on the application and the scope of application of measures stipulated for in those provisions, must be changed.
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Neszew, Vira. "„Sztuka dla sztuki” czy „sztuka dla narodu”? Działalność artystyczna, krytycznoliteracka oraz wydawnicza Iwana Trusza wobec wyzwań ukraińskiego życia społecznego w Galicji na przełomie XIX i XX wieku." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 23 (December 30, 2023): 73–94. http://dx.doi.org/10.24917/20811853.23.5.
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The article is an attempt at reconstructing the artistic and critical literary activity of a Ukrainian painter Iwan Trusz, who noticed a great need of the Ukrainian society to cultivate and develop national art. The Ukrainian artist also contributed to the development of Polish art of that period, as he was highly estimated among Polish intellectuals and took an active part in Polish and Ukrainian cultural enterprises that took place in Lviv at the turn of the 19th and 20th centuries. The experience which Trusz gained during his education in the Cracow Academy of Fine Arts, as well as his direct contact with distinguished Polish painters (e.g. Leon Wyczółkowski, Jan Stanisławski) evoked in the painter a great need to take care of the enrichment of contemporary Ukrainian art and to raise the awareness of Galician Ukrainians about the effect which art has on the formation of every nation. Looking at the activity of Trusz‑an artist or Trusz‑an art critic from the perspective of the 21st century, makes it possible to find the answers to some key questions: “Should national art be promoted?”, “How to educate society through art?” and “What is the role of an artist during the formation of an independent nation?”
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Małecki, Mikołaj, Szymon Tarapata, Marta Czepiel, Piotr Drążyk, Marcin Dziedzic, and Filip Mielecki. "Przeciwko nowelizacji art. 11 Kodeksu karnego." Prawo w Działaniu 57 (2024): 280–95. http://dx.doi.org/10.32041/pwd.5714.
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In “Prawo w Działaniu” (“Law in Action”), issue 49/2022, Łukasz Pohl made a proposal to amend Article 11 of the Polish Criminal Code with a view to replacing the singular construct of the same offence, as adopted in the currently applicable Polish Criminal Code, with a multiplicitous construct of one and the same behaviour. This article analyses said proposal in terms of its operability in the legal system. It lists several negative consequences and inconsistencies concerning the multiplicitous construct of offences, and claims this proposal must be rejected.
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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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Szulc, Wita. "Does art therapy need a theory? Considerations on terminology, models and paradigms of art therapy." Studia Paedagogica Ignatiana 24, no. 4 (2021): 23–50. http://dx.doi.org/10.12775/spi.2021.4.001.
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The author discusses Polish publications on the theoretical foundations of art therapy published in Poland in chronological order and confronts them with the world literature of Art Therapy. One of theproblems discussed in this paper is plagiarism in the Polish literature on Art Therapy, which is an obstacle on the way to Art Therapy achieving the status of science. The article covers such issues as sources of knowledge about Art Therapies, terminology, types, models and paradigms of Arts therapy. The aim of this article is to draw attention to the need for a critical approach to the available and disseminated sources of knowledge about the theory.
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DENYSIUK, Olha, and Hanna KHABAZ. "POLISH ART IN PORTUGAL: TO THE QUESTION OF CONTEMPORARY POLISH-PORTUGUESE ARTISTIC RELATIONS." Humanities science current issues 1, no. 61 (2023): 109–15. http://dx.doi.org/10.24919/2308-4863/61-1-18.
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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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Bator-Bryła, Monika. "Restrictions on Movement During the Covid-19 Pandemic in the Light of Constitutional Freedom of Movement in the Republic of Poland." Przegląd Prawa Konstytucyjnego 66, no. 2 (2022): 95–108. http://dx.doi.org/10.15804/ppk.2022.02.08.
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The aim of the publication is to present the key issues regarding legal forms of restrictions on freedoms and rights (especially freedom of movement) without the simultaneous introduction of one of the constitutional states of emergency during the Covid-19 pandemic in the Republic of Poland and their assessment in terms of compliance with the Constitution. An important issue is the restriction of freedom of movement by the executive without proper authorization by statute. Despite the lack of the authorization in question, the Minister of Health introduced a ban on movement under the provisions of the executive act, which is contrary to Art. 92 sec. 1 of the Polish Constitution2, pursuant to which the bodies indicated in the Constitution of the Republic of Poland are authorized to issue the ordinance on the basis of statutory delegation. Moreover, in the light of Art. 31 sec. 3 of the Constitution of the Republic of Poland, restrictions on the exercise of constitutional freedoms and rights, including the right to move (Art. 52 of the Polish Constitution), may be established only by statute, therefore the regulation of the matter in question by means of a sub-statutory act, without proper authorization in the provisions of the act, violated a number of provisions of the Constitution, which means that in the event of failure to observe the statutory form for restrictions on freedoms and rights, it must lead to the disqualification of a given regulation as being contrary to Art. 31 sec. 3 of the Polish Constitution.
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Majewska-Güde, Karolina. "If You Want to Say Something—Speak in the Language of the Language: Ewa Partum's Model of Conceptual Art." ARTMargins 10, no. 2 (2021): 73–92. http://dx.doi.org/10.1162/artm_a_00293.
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Abstract The artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.
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Krakowska, Joanna. "Eating Bananas Outside the National Museum." TDR: The Drama Review 65, no. 4 (2021): 131–46. http://dx.doi.org/10.1017/s1054204321000587.
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The banana protest, a mass reenactment of Consumer Art (1972), a series of photographs by Natalia LL that was removed from the National Museum in April 2019, was staged as a grassroots protest against this act of censorship and the Polish conservative government’s “decency” policy as well as the underrepresentation of women’s art in museums and galleries.
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Mansbach, Steven. "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America." Slavic Review 71, no. 3 (2012): 489–515. http://dx.doi.org/10.5612/slavicreview.71.3.0489.
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Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.