scholarly journals Understanding with Water: Hydro-art in Osieki (1973)

2021 ◽  
pp. 356-374
Author(s):  
Karolina Majewska-Güde
Keyword(s):  
Art History ◽  
Land Art ◽  
Environmental Humanities ◽  
Active Participant ◽  
Avant Garde ◽  
Art Practices ◽  
New Materialisms ◽  
Water Surfaces ◽  
History Of ◽  
Feminist New Materialisms

The paper is located at the intersection of the art history of the Polish neo-avant-garde and the environmental humanities informed by feminist new materialisms. It proposes an interpretation of performative works in which artists used aqueous matter as an object of interaction, a source of artistic transcription, and as an active participant in artistic scenarios. It concentrates on works that were realized during the open-air art meetings in socialist Poland and in particular at the Osieki meeting in 1973 with the title The Art of Water Surfaces [Plastyka obszarów wodnych]. Based on the analyzed works, it offers a speculative reflection on Hydroart, which is defined as region-specific development parallel to land art practices.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

The Sitwells and Sitwellism

2017 ◽  
Author(s):  
Deborah Longworth
Keyword(s):  
Art History ◽  
Literary Modernism ◽  
Popular Imagination ◽  
Avant Garde ◽  
Experimental Art ◽  
History Of ◽  
Aesthetic Standard ◽  
Post War

Few figures have been so renowned and yet so critically dismissed within the history of literary modernism as Edith, Osbert and Sacheverell Sitwell. For a time in the early 1920s they were the leading personalities of London’s immediately post-war modernist haut bohemia, and the embodiment of the modernist avant-garde as it was perceived in the popular imagination. One of the reasons for their disappearance from histories of the emergence of English modernism, is perhaps that the Sitwellian brand of avant-gardism was so distinct from the classicist aesthetic standard by which modernism would subsequently come to be defined. This chapter examines a cult of “ornamental modernism” in the 1920s, of which the Sitwells were the figureheads; an impulse that we find in works that embrace the extravagant, the theatrical, or the eccentric; that turn to the decadent, baroque, and rococo rather than the classical for their models, that foreground artistic celebrity rather than impersonality, and in which performance and façades dominate rather than formalist clean lines or the direct articulation of subjective consciousness. It is an alternative trend in experimental art that overtly positions itself in antagonism with the conservative artistic and cultural tendencies of the period, but that also sits awkwardly in relation to the standard and revisionary histories of avant-garde and modernist experiment, exemplifying instead an ornamental aesthetic that has been all but obliterated from subsequent literary and art history.

scholarly journals List, który zaginął

2018 ◽  
pp. 273-278
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Emotional Response ◽  
Public Domain ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
History Of The University ◽  
The University ◽  
Anxiety And Fear

A Letter That Was Lost Summary The paper presents the history of a letter by Tadeusz Kantor of 1981 that was long lost. Kantor responds in it to a proposal from the Institute of Art History of the University of Poznań to have a series of lectures on the avant-garde. Writing that he had not time for it, he explains in some detail his detachment from the institutional study of the avant-garde at the university, stressing his involvement in the avant-garde activity through his art, in particular the Cricot theater. Kantor insists that the avant-garde does not belong to the public domain, but is a result of the artist’s private experience of anxiety and fear in confrontation with the audience and their emotional response to engaged art.

The Grass is Greener: Władysław Hasior in an Ecocritical Perspective

2021 ◽  
pp. 155-171
Author(s):  
Karolina Kolenda
Keyword(s):  
Environmental History ◽  
Art History ◽  
Land Art ◽  
Ecological Art ◽  
Research Perspectives ◽  
History Of Art ◽  
Local Tradition ◽  
History Of ◽  
Preliminary Study ◽  
The Relationship

The text offers an analysis of selected works by Władysław Hasior from an ecocritical perspective. The focus is placed on Hasior’s best-known work, The Organ, as well as on several parts of his Photo Notebook. The analysis seeks to demonstrate that an application of an ecocritical perspective to the reading of Hasior’s work may help fill in the blanks in the environmental history of art in Poland. Several recent publications and exhibitions that concern the relationship between art and nature focus on uncovering the “prehistory” of ecological art in Poland or the local tradition of Land Art. The text is meant as a preliminary study of possible research perspectives that the proposed reading may open up, as well as a consideration of whether ecocriticism could serve as an opportunity to bring the tenets of horizontal art history into the practice of rereading the work of Polish artists and their relationship with the landscape.

Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas

Leonardo ◽  
2016 ◽  
Vol 49 (4) ◽  
pp. 306-316 ◽  
Author(s):  
Alla Gadassik
Keyword(s):  
Phenomenological Analysis ◽  
Active Participant ◽  
Avant Garde ◽  
Design Effects ◽  
Moving Images ◽  
History Of ◽  
Material History ◽  
Perceptual Psychology ◽  
The Aesthetic

James Turrell’s perceptual cells incorporate the neurophysiological apparatus as an active participant not only in the reception of projected moving-images, but also in the very production and transmission of virtual moving-images. Combining two perceptual phenomena—the stroboscopic effect and the Ganzfeld Effect—Turrell’s perceptual cells integrate the architecture of projection with the architecture of organic vision to produce a single networked extra-sensory medium. This paper performs a phenomenological analysis of Turrell’s Light Reignfall (2011) perceptual cell, following its design, effects on the viewer, and cultural and material history. In the process, the paper situates the perceptual cell between the history of avant-garde cinema (what historians have called “paracinema”) and the history of perceptual psychology and parapsychology (what the author terms “para-cinema”). Between these two paracinemas, Turrell’s perceptual cells activate the aesthetic potential of what the author discusses as “edgeless projection.”

scholarly journals Art Discourse of the Yekaterinburg Avant-Garde: From the 1960s Basements to the 1980s Exhibitions

2020 ◽  
Author(s):  
Galina Golynets
Keyword(s):  
Art History ◽  
Freedom Of Expression ◽  
Fine Arts ◽  
Special Role ◽  
State University ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
The 1960S ◽  
Age Range

This paper is devoted to the first domestic international conference Avant-Garde Movements in the Soviet Fine Arts: History and Modernity organised by the Department of the Art History of the Ural State University, by the Regional Department of Culture and by the White Gallery under the direction V.A. Malinov. The conference took place on January 19–21, 1990 in Sverdlovsk in the Cinema House. This event, which united art critics of the Urals, Siberia, Moscow, Kiev and Sofia, was one of the first sophisticated attempts to consider the issues faced by art movements which were not officially recognized and, therefore, existed “in the underground”. Due to various objective and subjective circumstances, local cultural strivings of that time were expressed more fully in painting and graphics than in other art forms. Sverdlovsk visual arts became well-known far beyond the region and played a special role in the city’s artistic life. The exhibition focused on the members of the art partnership ”Surikova, 31”. Almost two hundred artists and over six hundred works were presented in the 1987 exhibition. The exhibition stunned the public due to the age range of the artists, the explosion of movements and styles, and most of all the freedom of expression. Since then, exhibition activity has emerged from the basements and become public. Materials from the Ural conference 1990 are still interesting and relevant as part of the history of non-official art both in Sverdlovsk/Yekaterinburg and Russia in general. Keywords: modernism, avant-garde, Artists’ Union, socialist realism, underground, the second avant-garde, nonconformism, postmodernism.

scholarly journals Спадщина Василя Єрмилова в культурному контексті незалежної України

2021 ◽  
pp. 114-122
Author(s):  
О. В. Колісник ◽  
К. І. Подобєд
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Cultural Institutions ◽  
Art Exhibitions ◽  
Professional Literature ◽  
Art And Design ◽  
Avant Garde ◽  
Current Trends ◽  
Art Practices ◽  
Art Scene

To examine Ukrainian art projects and studies of the period of independence, dedicated to the legacy of the outstanding artist and designer Vasyl Yermilov, and to actualize the significance of the artist's work for the contemporary art and design process. Methods of systematization and actualization of the analytical information gained by studying specialized professional literature and websites of cultural institutions. The main tendencies of work with the legacy of Vasyl Yermilov in the context of the problems of the Ukrainian avant-garde are determined and characterized. The issue of the importance of differentiating the Ukrainian and Russian avant-garde on the international art scene for the formation of a positive image of Ukraine has been actualized. Key projects were analyzed, including museum and contemporary art exhibitions, and the difficulty of working with the artist’s legacy due to the lack of iconic works in Ukrainian collections and the loss of some of the works of the 1920s was raised. Systematized Ukrainian art projects and studies of the period of independence, dedicated to Vasyl Yermilov, which cover various areas of culture: art history works, museum exhibition projects, contemporary art practices. The study shows current trends in working with the heritage of the Ukrainian avant-garde and can be used to develop further cultural projects and create exhibitions.

scholarly journals MARIAN MINICH (1898‒1965)

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 163-174
Author(s):  
Paulina Kurc-Maj
Keyword(s):  
World War Ii ◽  
Art History ◽  
Art Museum ◽  
Professional Experience ◽  
World War ◽  
Avant Garde ◽  
Before And After ◽  
History Of ◽  
Post War ◽  
The University

Marian Minich was born on the 21st December 1898 in Baligród near Lesko, died on the 6th of July 1965 in Łódź. For thirty years, excluding the World War II period, he was a director of the Art Museum in Łódź. In 1929, he graduated from the John Casimir University in Lviv, history of art faculty. He worked there from 1928, first as an assistant of Professor Władysław Kozicki, then of Professor Władysław Podlacha. In 1932, he defended his doctoral thesis on the oeuvre of Andrzej Grabowski (published in 1957). He was granted a university award while still a student for his study The Concept of Art by Wölfflin, whose methodology influenced future exhibition concepts of Marian Minich. From the late 1920s, he was writing as an art critic for Lviv newspapers. In 1935, he assumed the position of the director of the Art Museum in Łódź (at the time: the J. and K. Bartoszewicz Museum of History and Art). Among his major achievements was not only a remarkable expansion of museum collection, but also a transformation of the museum into an institution devoted exclusively to art, with a significant representation of contemporary art. In the uneasy post-war years, he managed to sustain this direction, both before and after the tightening of cultural policies in the socialist realism era. In 1948, together with the first post-war permanent exhibition, the Art Museum in Łódź opened thanks to him the “Neoplastic Room” by Władysław Strzemiński. Marian Minich was also a persistent defender of the avant-garde, and strived to make it an integral part of conceptual programme for any art museum. From the years 1946/1947 to 1951/1952, he taught art history at the University of Łódź. His professional experience as a museum director has been described by him in a book Szalona galeria (published in 1963); his article O nową organizację muzeów sztuki (1966) he devoted to museum issues.

scholarly journals „Młodości mej stolica”, czyli Kraków literacki i teatralny we wspomnieniach Tadeusza Kudlińskiego

2018 ◽  
Vol 18 ◽  
pp. 173-191
Author(s):  
Joanna Dobrowolska
Keyword(s):  
Interwar Period ◽  
Active Participant ◽  
Financial Situation ◽  
Avant Garde ◽  
The Third ◽  
Local Newspapers ◽  
Cultural Life ◽  
History Of ◽  
Subjective View ◽  
Selection Of

In my article I reconstructed the picture of literary and theatrical Cracow in the years 1918– 1939, represented in the memorials Młodości mej stolica. Pamiętnik krakowianina z okresu między wojnami (the extended edition, 1984), written by Tadeusz Kudliński. The author was an active participant of the cultural life of this city and a bystander of the great social and historical changes after Poland regained its independence in 1918. I tried to confront his subjective view of the important artistic events and processes in the interwar period with the objectivism of historical studies. Kudliński presented a complete and detailed image but, naturally, he paid more attention only to some facts, disregarding or briefly mentioning others. I wanted to understand the motivation behind thematic selection of the material. In the first part of this article, I analysed Kudliński’s „gallery of the portraits” of Cracovian writers and theatre people, paying special attention to the applied genre convention and description method. In the second part, I presented some individual elements of the literary Cracow panorama: professional organisation and institutionalisation of the literary life, the functioning of the publishing market, the development of local newspapers and periodicals, the financial situation of the writers and the meaning of tradition and avant-garde. In the third part, I reconstructed the image of the theatrical Cracow and the author’s views on the philosophy and aesthetics of the theatre. My main objective was to show the great documentary value of Kudliński’s memories – due to their factographic credibility and variety of content Młodości mej stolica can be a valuable source of knowledge about the history of Cracow.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

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