Važan prilog hrvatskoj likovnoj kritici
The review of: Fra Vendelin Karačić: Umjetnost u zrcalu besjede, Naklada Fram Ziral d.o.o., Mostar, 2018.
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The review of: Fra Vendelin Karačić: Umjetnost u zrcalu besjede, Naklada Fram Ziral d.o.o., Mostar, 2018.
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Graffiti and street art are continuously topical for the cultural space of Latvia. Graffiti and street art are created, exist and vanish in a short period of time, questioning borders of art, its social function, as well as legality. Till now, an unexplored field of study in Latvia has been the necessity and possibilities for the conservation and restoration of graffiti and street art. Photographs taken by Aija Melbārde and Auguste Petre serve as an example of documenting and exposing signs of our time. They also raise questions for reflection – What is the significance of graffiti and street art within the scene of contemporary art? What are the functions of graffiti and street art in society, as social art? What are the aspects of legality of graffiti and street art? What are the issues for conservation and restoration of graffiti and street art? [...]
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In the past few years graffiti has become a very popular topic for discussions. Many analytic researches prove that the different expressions of graffiti are a sufficiently interesting field for studies in Latvia and elsewhere in the world. It might seem strange – a visual phenomenon that is most frequently associated with vandalism, has taken an important place in the work of art and culture researchers. What makes this self-evident sight so appealing? Furthermore, why do we perceive graffiti as a self-evident sight? Quite possibly it is a code that set in our social perception thousands of years ago, and what we call graffiti in the 21st century is an ancient tradition that has been, and still is, practised all over the world. Examples of ancient graffiti have been found in the city of Pompeii, Italy, but the most significant place to search for it is the New York City. Street art and graffiti of Riga has adopted a lot from both of these traditions. Local urban environment is alive and densely filled with different socially and artistically significant writings and drawings. The graffiti of Riga fits in the context of worldwide examples and has become a valuable part of social art, introducing artistic and political tendencies, as well as interpreting them in public environment.
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This article describes characteristics of graffiti and street art in Riga. The aim of the article is to present features of street art and graffiti phenomenon, as well as to highlight portrait of a typical urban Riga artist by analysing types of activities, motivation and other characterizing aspects of graffiti writers and street artists. The author of the article introduces general street art and graffiti phenomenon, highlighting differences between these forms of art, following analysis of such topics as manifestation of street art and graffiti in Riga, the most common forms of street art and graffiti in urban environment of Riga. The author of the article also provides analysis of street art and graffiti artists’ motivation of their activities and describes street artist’s one-night run that was studied during conducted inclusive observation thus allowing understanding the characteristics of typical Riga urban environment artist.
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The Kvėdarna Parish (Šilalė District) Poster of Jesus Christ Heart Fraternity SPASABAS PASYLECAWOIMA SZWĘCZIAUSE SZYRDEY PONA JEZUSA Broctwoy Saldziausios Szyrdies Chrystusa (The Manner of Commitment to the Holiest Heart of Lord Jesus in the Fraternity of the Sweetest Heart of Christ) preserved in the archive of the Kretinga Franciscan monastery was not recorded in the Lithuanian Bibliography. The Poster was published in Vilnius by the printer Abromas Dvorčius (most probably in 1848). Until now, the activity of this fraternity in Kvėdarna has not been recorded either. A similar document of that fraternity in another parish (Rozalimas parish) had been printed four years earlier, in 1844, and has survived till now. A comparison of the two documents (from Rozalimas and Kvėdarna) uncovers significant textual differences. Even if their structures are comparable (they both contain a part of commitment to the fraternity and both list obligations and indulgences), the remaining content and the linguistic features differ substantially. The documents must have been prepared by different persons. The dialectal peculiarities of the Kvėdarna Poster suggest that it must have been prepared by a southern Samogitian (from the southern part of the Lithuanian Lowlands).
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Graffiti and street art is a contemporary phenomenon, in public urban space in particular, which has been discussed in this volume of articles in order to encourage a broader discussion of functions of graffiti and street art as social art, its legality and conservation issues. This volume invites the alumni of the bachelor and master programmes of the Latvian Academy of Culture, whose research interests are connected to studying graffiti and street art in the context of cultural theory, cultural policy, cultural management, as well as intercultural communication and cultural heritage studies, for a dialogue. Researchers from such scholarly disciplines as ethnology, folklore studies and legal sciences have also joined. [...]
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Grafiti un ielu māksla ir publisks laikmetīgs pilsētvides fenomens, kas šajā rakstu krājumā iztirzāts plašākas diskusijas veicināšanai par vairākiem tā analīzes aspektiem – grafiti un ielu mākslas kā sociālās mākslas funkcijām sabiedrībā, ar to saistītajiem tiesiskajiem aspektiem un restaurācijas problemātiku. Rakstu krājumā šiem jautājumiem veltītā dialogā piedalās Latvijas Kultūras akadēmijas bakalaura un maģistra studiju programmu absolventi, kuru pētnieciskās intereses saistās ar grafiti un ielu mākslas daudzveidīgajiem izpētes aspektiem kultūras teorijas, kultūras politikas, kultūras menedžmenta, kā arī starpkultūru komunikācijas un kultūras mantojuma studiju ietvarā. Tāpat arī krājuma tapšanai pievienojušies pētnieki no tādām zinātņu jomām kā etnoloģija un folkloristika, kā arī tiesību zinātnes. [...]
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This study gives an insight into Karadžić’s creative work from the aspect of culture and historical reality. It involves a culturological and creative analysis. A review is offered of research on the creative work of this artist in society and his catharsis in various cultural and historical contexts, from the aspect of culture, as a chronicle of society and in terms of pictorial expression. His artistic expression and the semantics of creative interpretation through the chronological method in the research indirectly reveal a cathartic boost given to this artist’s steps in his creative expression. The study will be inspirational for chronological approaches regarding creativity in the Balkan cultural area.
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Interview with Josip Zlatko Biffel. Interviewed by Nevenka Šarčević. /Last conversation with the painter. Josip Zlatko Biffel (1933-2018)
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How do you grow the local film industry in a country with just three year-round cinemas?
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Adriatic city of Dubrovnik, which has been central to the craze, is imposing restrictions aimed at limiting the overwhelming number of tourists.
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Arūnas Aleksandras Daugėla was born in 1963 in Kaunas. In tender age he studied at children’s art school. From 1980 to 1986, he studied glass art in Kaunas Applied Arts faculty of Vilnius Art Institute (now Vilnius Academy of Arts). After graduation, he was employed at Kaunas „Aleksotas“ manufactory. Here Daugėla worked as a designer from 1986 to 1994, creating various items of mass production and limited edition glass objects. During that period he also cooperated with “Glass Magic“ studio. For the last 30 years, the main occupation of Daugėla is pedagogical work. In 1990, the artist started lecturing in the Glass Art Department of Kaunas Faculty of Vilnius Academy of Arts. Now he lectures on various glass art subjects in bachelor and master degree courses. The artist also produces some artworks and participates in exhibitions.
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This article analyzes the iconography of St. Benedict in Lithuanian altarpieces of 17–19th century. The most numerous and valuable pictures belong to the 18th century. They depict the Saint’s appearance, his death, apotheoses and heavenly triumph. Since the 17th century, St. Benedict was mostly represented as old bearded patriarch dressed in the black habit with miter on his head and the book of Regula in his hands. Other kind of pictures show his miracles and mystical visions.
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The article is devoted to the conceptual and historical analysis of the eclipse of ocularcentristic aesthetics and to the opening of opportunities for the present visual aesthetic discourse of visual culture. The text highlights two main opportunities for the development of ocularcentristic aesthetics – such as eye apologetics and mistrust, denial and contempt. The analysis of specific examples of art history and analysis of aesthetical perceptions shows that the different parts of the human sensorium, which make up a complete multisensory tissue, become a consequence of the fluctuation of this bipolar phenomenon. From here, the distrust of the pre–eminence and supremacy of the eye, which is most noticeable in French aesthetics and art philosophy, has emerged in modernist consciousness. In the long run, it also spread to the English and German speaking countries, reaching the epoch of the 20th century, when the French philosophical doubts were fruitfully taken over by American art philosophers; in turn, the unpredictability of the eye was already overwrought by modern art and became the self–image of the current post–modern visual culture and aesthetic and artistic consciousness.
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Prof. Albertas Gurskas (b. 1935) is a graphic artist, poster, calligrapher, creator of the Lithuanian calligraphy school. From 1962 till 1968, he studied graphic arts at Vilnius Art Institute. Since 1969, he was a teacher at the same Institute (now Vilnius Academy of Arts), taught students of various specializations font, calligraphy and composition. From 1982 till 1987, Gurskas headed the Department of Pedagogy and from 1993 till 2003, the Department of Graphics. From 2012, he is a teacher of European Humanitarian University and a visiting professor in Israel universities. Also he is a member of Lithuanian Artists’ Union. All Gurskas’s artistic works are characterized by performative precision and completeness, inventive and thoughtful composition, impeccable artistic taste and playful style. The artist formatted approximately 40 publications in science, art, politics and pedagogy. Since 1968, he took part in exhibitions in Lithuania and abroad, published three books on font and calligraphy.
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Although a Professor of Vilnius Academy of Fine Albertas Gurskas produced remarkable works in graphics, exlibris, poster, and coat-of-arms, nevertheless this article focuses on his calligraphy. Gurskas is not only prolific artist but also a talented educator and founder of the Lithuanian School of Calligraphy. The article focuses on Gurskas’s calligraphy works, considers their most remarkable features, discusses the stages of their style development. Special attention is paid to the peculiarities of his pedagogical practice influence on the Lithuanian art of calligraphy.
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Glass artist Sigita Grabliauskaite is known as a longtime lecturer of Arts and education faculty of University of Applied Sciences (Kauno Kolegija), also a participant of numerous exhibitions in Lithuania and abroad. The artist mainly creates exhibition works from which the most notable are series of plaques and sculptures, portraying close people and artists. Another developed themes revolve around womanhood, nature and animals. However, to capture the before mentioned classic themes, the artist uses personal outlook, original aspects, associations and symbols. Especial knowledge of materials and techniques facilitates the shaping of intriguing art work forms, which create highly suggestive and esthetic plasticity in author’s creation.
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This painting is invaluable in the general picture of sacral art in Latvia. In 1936 the picture was described by a priest and art historian Kazimirs Jasens. He indicates that the painting is located in the chapel at Jelgava Roman Catholic graveyard. The artefact was considered to be destroyed during World War II, but luckily it was found in 2013 far away from its original place, in Kaunata, Southeast Latvia.
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The article is devoted to the study of ethnographic collections of museums in Uzbekistan. Ethnographic collections of museums in Uzbekistan were studied on the basis of samples of copper-embossing art. The article deals with ethnography, ethnographic collections, factors of formation of ethnographic collections of museums in Uzbekistan. The process of development of the Uzbek copper-embossing art was analyzed on the example of copper samples from museums in Uzbekistan.
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Paper deals with gap between prevailing prosaism in design of the contemporary liturgical vessels and their important role in the Christian place of worship. In general, liturgical vessels are important component of ritual. They begin to live only in 'resonance' with place of worship. As the substantial carrier of the transcendental quality liturgical vessels become the architectural core of the sacral complex. Importance of their architectural nature becomes even more obvious through archetypal analysis of the Christian sacral complex.
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