war art
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2021 ◽  

How do artist archives survive and stay authentic in radically changed contexts? The volume addresses the challenge of continuity, sustainability, and institutionalization of archives established by Eastern European artists. At its center stands the 40th anniversary of the Artpool Art Research Center founded in 1979 in Budapest as an underground institution based on György Galántai's »Active Archive« concept. Ten internationally renowned scholars propose contemporary interpretations of this concept and frame artist archives not as mere sources of art history but as models of self-historicization. The contributions give knowledgeable insights into the transition of Cold War art networks and institutional landscapes.


2021 ◽  
Vol 11 (1) ◽  
pp. 56-68
Author(s):  
Cristian Rusu

Abstract The present study aims to revive the discussion on Martin Esslin’s 1961 labeling of the post-war theater as “absurd” and proposes the consideration of a new paradigm: “abstract theater”. In the great existential and artistic crisis triggered by the end of the Second World War, post-war art oriented itself towards an abstract expression that would dominate the 5th and 6th decades of the 20th century. A panoramic study of the second wave of the avant-garde represented by abstract art could also include these dramatic texts in the great abstract movement of the period. This approach could reopen, in the spirit of the analysis of that Zeitgeist, a fruitful discussion, integrating the art of theater in the great post-war abstractionist spirit.


Author(s):  
Stella Fletcher

According to the Florentine historian Francesco Guicciardini, Italy enjoyed peace and plenty in the years around 1490. From 1494 it was plunged into what he and others regarded as a series of “calamities,” triggered by the French kings Charles VIII (r. 1483–1498) and Louis XII (r. 1498–1515), who claimed to rule the kingdom of Naples and the duchy of Milan, respectively. Francis I (r. 1515–1547) retained the claim to Milan, and the wars themselves continued through the reign of Henry II (r. 1547–1559). Rule over Naples was contested and secured by Ferdinand II of Aragon (r. 1479–1516) and maintained by his Iberian successors. Milan was an imperial fief, so was contested by Ferdinand’s grandson Charles V in his capacity as Holy Roman emperor (r. 1519–1556). The conflicts waged in Italy in the names of these various princes between 1494 and 1559 are collectively known as the Italian Wars. They include the War of the League of Cambrai (1508–1516), that of the League of Cognac (1526–1530), and the War of Siena (1552–1559). This article approaches the wars by means of Reference Works and Overviews specifically devoted to the Italian Wars, though it is also worth teasing information from histories of Renaissance Warfare. Contemporary Sources provide innumerable angles on a subject that can be difficult to define beyond events on the battlefield or the besieged city and are therefore subdivided into four types: Memoirs and Chronicles, Histories, Official Records, and cultural evidence, the last of which appears under the heading Art of War, Art and War. Some publications deal with individual episodes or short spans of time and therefore feature in a Chronology of War, itself subdivided at the death of Louis XII/accession of Francis I, 1494–1515 and 1515–1559. The biographical genre—Lives and Times—is the most obvious way of dealing with the leading protagonists, who tended to be Princes, but group studies are also relevant when one turns to Subjects and Citizens who contributed to the conflicts in some form or other. Some authors have confined their research to military history, including the recruitment of soldiers, their pay, and provisions, as well as their activities on the battlefield, but the Italian Wars witnessed so much overlap between the lives of Soldiers and Civilians that they are brought together in the penultimate section of the article, which then concludes with the miscellanies that are Collections of Papers.


2021 ◽  
pp. 1-16
Author(s):  
Hannah Partis-Jennings ◽  
Henry Redwood
Keyword(s):  

2020 ◽  
Vol 85 (5-6) ◽  
pp. 109-115
Author(s):  
Tomasz Adamski ◽  
◽  
Kazimierz Pollak ◽  
Andrzej Nowakowski
Keyword(s):  

Dr. Kazimierz Pollak, M.D., Ph.D. was a student of the renowned serologist and immunologist, Professor Ludwik Hirszfeld, and an assistant to Professor Franciszek Raszeja, with whom he provided assistance to the sick in the ghetto. On 21 July 1942, when assisting Professor Raszeja, he was shot by the SS members when operating on the well-known pre-war art merchant Abe Gutnajer.


2020 ◽  
Vol 11 (11) ◽  
pp. 281-286
Author(s):  
Babii A. Y.

In the articles analysed scientific approaches are in relation to determination systems of crimes, that can belong to extremist. It is emphasized absence of the special norms on questions counteraction to extremism in Ukraine. In Ukraine scientists spare insufficient attention to extremist crimes. These problems have a significant impact on counteraction to extremism. The main efforts are aimed at combating such extremism form as terrorism in Ukraine. Absence of unanimity is established among scientists in understanding of extremism and him criminal displays. From the point of criminology of sight with the aim of decision of tasks of prevention and counteraction seems reasonable and expedient association of various extremist encroachments in one group of criminology under the general name «extremist crimes». Drawn conclusion that the use of the various going near determination of the system of extremist crimes conditioned foremost by complication and multidimensionalness of the phenomenon of extremism, and also by absence in the legislation of Ukraine of the special norms sanctified to counteraction to extremism. Criminal responsibility for acts that it is accepted to name extremist, envisaged by the norms of different divisions of Special part of Сriminal Code of Ukraine that testifies to the threat of extremism not only for bases of national safety of the state. Under extremist it is suggested to understand crimes committed for extremist motives and (whether) aims. There are sufficient and reasonable grounds to consider that to extremist crimes under the Criminal Code of Ukraine may include in certain cases the following encroachments: actions aimed at forcible change or overthrow of the constitutional order or seizure of state power (article 109 of the Criminal Code of Ukraine), encroachment on territorial integrity and inviolability of Ukraine (art. 110), financing of actions committed with the aim of forcible change or overthrow of the constitutional order or seizure of state power, change of borders of the territory or state border of Ukraine (art. 1102), treason (art. 111), encroachment on the life of a statesman or public figure (art. 112), sabotage (art. 113), obstruction of the lawful activities of the Armed Forces of Ukraine and other military formations (art. 1141), violation of equality of citizens depending on their race, nationality, religious beliefs, disability and other grounds (art. 161), terrorist act (art. 258), involvement in committing a terrorist act (art. 2581), public appeals to commit a terrorist act (art. 2582), creation of a terrorist group or terrorist organization (art. 2583), assistance in committing a terrorist act (art. 2584), financing of terrorism (art. 2585), creation of paramilitary or armed groups not provided by law (art. 260), mass riots (art. 294), calls to commit acts threatening public order (art. 295), propaganda of war (art. 436), planning, preparation, resolution and conduct of aggressive war (art. 437), the use of weapons of mass destruction (art. 439), genocide (art. 442), encroachment for the life of a representative of a foreign state (art. 443), crimes against persons and institutions with international protection (art. 444), mercenary (art. 447). Keywords: extremism, extremist crimes, system, extremist motives.


Author(s):  
Margaret George ◽  
Victoria Young

A war artist is one who captures the subject of war in some type of artistic form. Since the beginning of time, artists have recorded scenes of war as a visual record of a culture’s existence and tribulations. Images of battles, ship portraits, leaders, and soldiers made up the bulk of war images until the late 19th century. The creators of the majority of these works are unknown, but when the entire world first went to war in 1914, nations hired official war artists to depict the action, including warplanes, tanks, and other newly developed technologies, among other aspects, as subject matter. These artists were mostly men, who were on the front lines sketching, painting, and photographing the action, collecting the visuals of war that they might then collate into an official work for a nation. As the 20th century progressed into our current era, images became immediately accessible on television and film, in news reports, and in live streams, as reporters embedded themselves with soldiers. Official war artists still exist in several nations, as do official collections of artwork created by them. We also have vibrant unofficial images of war produced by soldiers and prisoners for their own purposes, or by people protesting war itself. In compiling this bibliography, we sought to convey the breadth of war art mainly in 2-D media in chronology, type, artistic style, and maker, including voices of artists whenever possible. We also considered how artists from differing sides in battle impact each other’s artistic production. Being an artist who depicts war is a challenge. How do you convey honor and brutality, tradition and modernity, glory and defeat? How do you watch devastation around you and provide witness as you record the intensity and sadness of death? Combat artists of a particular country create art that reveals their experience of war. Is it personal? Or should it only be a documentary? The complexities found in creating the art of war are many, yet without these works there are centuries of battle we would not understand from social, political, or technological viewpoints.


2020 ◽  
pp. 449-510
Author(s):  
Evgeny Dobrenko

This chapter examines Stalinist texts that deal with foreign policy and international journalistic writing, poetry, and film. It explains how the culture of late-Stalinism Cold War culture reflected the “Other,” which was essentially the most fitting image of the “Self.” It describes the incessant process of modelling the Self through the image of the Other that smooths out the trauma of the incessant war that continued in Russia right up to Stalin's death. The chapter analyzes how Stalinist art could not completely de-realize life and how reality found an escape in Soviet Cold War art. It also looks into the uniqueness of cold war in its oxymoronic nature, expressing that the goal of cold war is the preservation of peace.


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