Zasady podobieñstwa

Author(s): Daria Kolacka / Language(s): Polish Issue: 01+02/2005

Nicephor Niepce considered photography as ‘a point of view’, or ‘an image rooted in the reality’. Breton considered photographic cameras as ‘blind instruments’, nevertheless, he believed that photographs were ‘non-mimetic’, but, rather, they were objective images which reflected the true aspects of things. Nadar said that photographic theory couldn’t be learnt in one hour or in one day, because we couldn’t quickly learn how to communicate with models in order to reveal his/her ‘intimate likeness’. Giacometti produced sculpture which resembled stiff 19th century photographic portraits. He often located the human figures on pedestals which he considered as their environment. After Cezanne, artists didn’t show the likeness of their models, but, rather, they showed the process which led toward showing the likeness. Giacometti’s pedestals resembled theatrical stage where his figures could appear and perform their roles. Composition and distance are constant in Giacometti’s work. Sartre considered unchangeable distance as ‘absolute distance’. Giacometti tried to see objects as if he saw them while walking along a pavement. His sculptured figures look like the shadows seen through the lens of a camera, walking along the horizon line. He always concentrated on figures seen from a long distance. His figures don’t have clear contour and their faces have no details. He wanted us to see people in impossible situations, when they almost disappeared from our sight, but, miraculously, are still visible.

John Waters – ksiazê smietnika...

Author(s): Daria Kolacka / Language(s): Polish Issue: 01+02/2005

John Waters is one of the founders of ‘trash culture’. He grew up in Baltimore, and currently lives in Hollywood. As high school student, he was interested in a puppet theatre. In 1966, he produced a show entitled ‘Twelve Assholes and Dirty Foot’. Later he was interested in movies, and directed such films as ‘Hag in a Black Leather Jacket’, and ‘Mondo Trasho’ (1969), ‘Pink Flamingos’ (1972), ‘Polyester’ (1981), and ‘Hairspray’ (1988). He always concentrated on trash motifs. His movies were often considered as scandalous productions. In 1985, the Art Museum in Baltimore organized a retrospective show of his photography. In 2000, Melanie Griffith starred in his movie entitled ‘Cecil de Mented’. Usually, he employed friends as actors and actresses, but he also made exceptions from that rule. Cartoon movie characters were used by Waters in his movie entitled ‘The Hot Seat’.

A látható színeváltozása További adalékok Caravaggio „naturalizmusának” képi szintaxisához

Author(s): András Rényi / Language(s): Hungarian Issue: 1/2009

Szwy generują znaczenia. Z Anetą Grzeszykowską rozmawia Iga Gańczarczyk

Author(s): Iga Gańczarczyk / Language(s): Polish Issue: 109/110/2012

Aneta Grzeszykowska discusses the artistic strategies that she uses in her photographs and films, and the subjects she explores in them: re-enactment in the work Untitled Film Stills, the annexation of imperfection in the series Portraits, the opposition between visibility and invisibility in Album and Untitled Film Stills, alienation from one’s own body and playing with the gaze and expectations of the viewer in the films Black, Headache, Bolymorphism and Holes… She also speaks of the theatrical dimension of her work, and comments on her relation to feminist art. A large part of the interview is dedicated to the new documentary art and its significance in her work.

Konstruktywizm jako styl. Aleksandr Rodczenko i Warwara Stiepanowa

Author(s): Katarzyna Osińska / Language(s): Polish Issue: 109/110/2012

Osińska describes the work of Alexander Rodchenko and Varvara Stepanova in the context of their biographies, their social, political and technical circumstances, and the artistic atmosphere of the era. She notes that the artists’ lives were very integrated with the concept of constructivism they advocated. She also stresses the strong influence that their work had on the next generation of artists. The author draws attention to the fact that some projects were only able to be carried out many years later, due to technical reasons. Stepanova and Rodchenko’s collaboration with Meyerhold constitutes an important part of the article.

Žene iz Sv. pisma u djelima hrvatskih likovnih umjetnika XX. i XXI. stoljeća

Author(s): Roberta Nikšić / Language(s): Croatian Issue: 37/2012

This paper depicts the work of Croatian artists inspired by biblical heroines. Painters from the beginning of the 20th century, like B. Čikoš Sesija, M. Uzelac, M. Trepše and others, under the infl uence of the so called Art Nouveau usually portrayed Salome, Susana, and Judith as femme fatale. Artists from the second half of the 20th century such as: I. Dulčić, Đ.Seder, S. Šohaj, Z. Šulentić and others, normally present in the interiors of sacred space, under the infl uence of contemporary avant-garde currents and changes in socio-political and cultural conditions, turned to nonfi gurative and abstract representations, most commonly portraying the character of Mary. At the end, our contemporary painter, D. Popović takes us back to the 20th century, with his subjective visual expression and representation of Salome, Judith and Mary Magdalene as femme fatale.

Két nagy zsidó festő a XX. században

Author(s): Zoltán Rockenbauer / Language(s): Hungarian Issue: 3/2001

Az első szó a köszöneté. Köszönet a Francia Intézetnek, hogy a millenniumi esztendőben segítettek Pestre invitálni Marc Chagallt, és most Budán otthont adnak Ámos Imrének is. Alig több, mint egy Duna-hídnyi távolság választja el egymástól ezt a két tárlatot, és bizonyára nem véletlen az ikerrendezés.

Siebenbürgische Kunst- und Künstlerkarten. Zur Geschichte künstlerischer Ansichtskarten im deutschen Umfeld Siebenbürgens

Author(s): Konrad Klein / Language(s): German Issue: 2/1997

Als die Kulturhistoriker in den siebziger und, verstärkt, in den achtziger Jahren die Bedeutung der Ansichtskarte als Bild- und Kommunikationsmedium erkannten, erfuhr auch die Künstlerkarte eine Aufwertung. Auf diese allgemein recht späte ‘Wiederentdeckung’ ist zurückzuführen, daß es – abgesehen von einer größeren Vorarbeit – keine einschlägigen Untersuchungen zur siebenbürgischen Ansichtskarte und schon gar nicht über die Künstlerkarte gibt.

About Forms and Symbolic Configurations (II)

Author(s): Georgeta Merişor Dominte / Language(s): English Issue: 1/2012

About Forms and Symbolic Configurations is elaborated with initials and derivative assertions, having informative and formative intentions at the same time. They propose, especially for the support of the apprenticeship stages, an overall and a detailed view, visually polarized between the macrocosmic and the microscopic, over some primary and derivative forms, organic and angular, natural and artistically created by the human being. Intending to make some inductions, which give the possibility for manifesting a creative continuum, for the emitter as well as for the receptors, I have thus conceived a wide corollary of some various visual ideas and expressions, for some symbolic configurations, which can be continued and developed on their specific coordinates, in a theoretical and applicative sense.

Group Ikona – International Symposium of Religious Painting, Second Edition, Faculty of Orthodox Theology, Iaşi

Author(s): Vasile Tudor / Language(s): English Issue: 1/2012

The international Group Ikona is made up of teachers from Orthodox Christian countries teaching in Ecclesiastical Art sections at Orthodox Theology faculties in Greece, Bulgaria, Serbia, Macedonia and Romania. The objective of Group Ikona is the research, awareness and continuation of Byzantine plastic system and is achieved through symposia organized in Greece, Romania, Russia and Finland. The second edition of the Religious Painting Symposium was held in Iasi, between the 16th and 20th of November 2009, at the invitation of the Faculty of Orthodox Theology in Iaşi, under the patronage of the Metropolitan Church of Moldavia and Bucovina and His Eminence Teofan, Archbishop of Iaşi and Metropolitan Bishop of Moldavia and Bucovina.

KRALJEVIĆ, Miroslav, peintre, graphiste et sculpteur [Gospić, 14.12.1885 – Zagreb, 16.4.1913]

Author(s): Miroslav Kraljević / Language(s): French Issue: 1-2/2002

KRALJEVIĆ, Miroslav, painter, graphic artiste et sculptor [Gospić, 14.12.1885 – Zagreb, 16.4.1913] was (together with J. Račić et V. Becić) the founder of the modern Croatian painting, where he introduced the French element (until than the Italian element was dominant in the painting of the South, and the German element in the North).

Le Futurisme

Author(s): Antun Gustav Matoš / Language(s): French Issue: 1-2/2002

Report on the italian movement Futurism (The Futurist Manifest published in 1909 in Le Figaro).

STEINER, Milan, dessinateur, graphiste et peintre [Sisak, 2.6.1894 – Zagreb, 4.12.1918]

Author(s): Milan Steiner / Language(s): French Issue: 1-2/2002

Biographical sketch of Milan Steiner, illustrator, graphic artist and painter [Sisak, 2.6.1894 – Zagreb, 4.12.1918]. He belongs to the generation stamped by the work of J. Račić et M. Kraljević and tends to the construction (“to draw is to measure”, Đ, Tiljak) , and introduces rational elements in his expressions (in the tradition of Ingres and Degas). Zagreb with its streets and its life is one of the major motifs in his work.

CONSIDERAŢII ASUPRA ARTEI MONUMENTALE

Author(s): Natalia PODLESNAIA,Ala Starţev / Language(s): Romanian Issue: 1/2010

This article sets under scientific light the particularity of the monumental art and monumentality in art, their correlations with other genders of space art.

Spektakł ciała - akt w polskiej fotografii

Author(s): Marek Śnieciński / Language(s): Polish Issue: 1 (15)/2013

Some examples of nude studies in Polish post-war photography are discussed in the context of contemporary debates over the representations of the human body. Images of the body (including nude studies) are considered as the metaphors of people and constantly changing ideas (H. Belting). Body simulacra constantly remind us of the importance of nudity, which in our culture has the status of events and not the state, which makes the experience as “exposition”, “made naked” and never as a permanent form of ownership” (G. Agamben). Nudity dressed in a “cloak” of art (image) changes into a form of costume. In this context, gaze gains special meaning: motifs in pictures become important because of the gaze directed toward the subject (L. Nead). Nude studies (or, more broadly: images of the body) continuously redefine the problem of obscenity, which becomes the way of querying and expanding the limits of art. Artistic approach towards nudity reveals the so-called “crisis of references”, for example, when artists only show some parts of the human body and when they deconstruct sexuality. Contemporary body performances reveal many metaphors and ideas. Also, they reveal people’s uncertainty in relation to themselves and their images. Natalia LL z cyklu

Otwarte pole interpretacji dokumentu w nowych mediach

Author(s): Adam Sobota / Language(s): Polish Issue: 1 (15)/2013

Since the mid-20th century, there is a noticeable strengthening of the creative functions of everyday documents, which are contained in the photographs and films. Previously, culture was dominated by the opposition of documentary and artistic functions. One of the earlier attempts to compromise these areas was photographic pictorialism. Avant-garde tendencies led eventually to balancing the status of photography considered in the context of category of the document, as well as the context of creation. It was the harbinger of conceptual art, where each visualization was understood as art document. Collections of existing images are treated today as a global archive where we can find material for new narratives. They are constructed on the basis of traditional narratives, their transformations, technical systems and any logical sequences. They contribute to the creation of a new visual culture of communication.

Performatyka wizualności. Wayang kulit na wyspie Bali

Author(s): Mirosław Kocur / Language(s): Polish Issue: 1 (15)/2013

I propose to study visuality as a rhizome of different performances. To better explain the complexities of the emergence of visuality I will focus on a case study, the Balinese shadow puppet theatre wayang kulit. I argue against reducing the visuality to the visible.

Obraz wycięty z widoku. O symbolicznym znaczeniu kadru

Author(s): Elżbieta Łubowicz / Language(s): Polish Issue: 1 (15)/2013

The key element in the form of photography is the frame. It reveals the potential for expression, which is still very little known. Because of the obvious fact, that still frame is manipulated, practitioners and theoreticians of photography do not give it due attention. However, it is in the process of manipulation, that the three dimensional views become flat pictures. At the beginning of its history, photographs were different from paintings and graphic pieces because the new medium included cut-outs from views. Frames are the metonymy of photography. When it is used in a symbolic way, the photograph gains symbolic meaning. This innovative way André Kertész photographs considered photographs in that innovative context. Frames became metaphors of the human life and the human perception of the world, which occurring in the segment of space - analogous to the frame. Photo-frame is a symbolic sign and it shows a fragment cut from an entity. In this sense, photographs may also be used in transferred as elements of different forms of art. Stanislaw Dróżdż (1939-2009) used photographs in that particular context. He produced his concrete poems from the elements of different texts. It was his original idea and was connected with the aesthetics of concrete poetry. In conclusion: frames should be considered as specific forms in photographic art. They should not be only analyzed in the inter-disciplinary context. Łódź Kaliska Świat wg Łodzi Kaliskiej

Archeologia modernizmu: kwestia specyfiki medium

Author(s): Krzysztof Pijarski / Language(s): Polish Issue: 1 (15)/2013

The specificity of media is analyzed in the context of post-modernist art in the late seventies and eighties, particularly in the context of photogra- phy and its role in new media and the problem of “the invention of the medium” by Rosalind Krauss and general understanding of the medium as a convention. Krauss’s attitude is different from Michael Fried’s ‘mediality of images’ (not only photographic images). Fried’s ideas of “theatricality” and “exposition” are different from Krauss’s ideas. Also, non-artistic strategy of ‘separation of realities’ is analyzed in the same context. “True” and “false” elements are combined in pictures just like “authentic” documents are combined with theatrical images, paintings with photographs and modernism with post-modernism.

„A borítólap Cseh Gusztáv munkája”

Author(s): Miklós Csapody / Language(s): Hungarian Issue: 02/2011

Gusztáv Cseh was a Transylvanian book illustrator, graphic artist and page cover designer. This article is a selection from the book about Cseh’s life. He had a classical illustration style, he was attracted to absurd and grotesque, but he did not separate from the folk design. His life’s work can be divided into two periods. The artist’s first works were pastel illustrations and graphics, published in children and youth literature. In the second period, his main work was the illustration of the volume of the folk-tales from Magyardécse. His ars poetica: „I don’t want to merely illustrate, I want to express the idea with graphical tools”. Cseh’s works were rewarded with the Romanian Merit of Work and with The Most Beautiful Book of the Year award.