Na krawędzi obrazu. O po-malarskich pracach w polskiej sztuce lat sześćdziesiątych

Wydział Historyczny: Instytut Historii Sztuki

Dziecko przedszkolne i wczesnoszkolne wobec literatury i sztuki. Programy, praktyki, propozycje

Wydział Filologii Polskiej i Klasycznej

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Mode of access: Internet.

A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Arts companion, or A new assistant for the ingenious, in 3 pts. Pt. 1 containing the art of drawing in perspective ... Pt. II containing the art of drawing and painting in water-colours ... Pt. III containing the art of painting in miniature ... to which are added directions for shadowing, stipling, &c. ... likewise the preparation of an excellent polish and shell: the whole taken from some of the best Italian and other masters.

Includes indexes.

Scopophobia/Scopophilia: electric light and the anxiety of the gaze in postwar American architecture

In the years of reconstruction and economic boom that followed the Second World War, the domestic sphere encountered new expectations regarding social behaviour, modes of living, and forms of dwelling. This book brings together an international group of scholars from architecture, design, urban planning, and interior design to reappraise mid-twentieth century modern life, offering a timely reassessment of culture and the economic and political effects on civilian life. This collection contains essays that examine the material of art, objects, and spaces in the context of practices of dwelling over the long span of the postwar period. It asks what role material objects, interior spaces, and architecture played in quelling or fanning the anxieties of modernism’s ordinary denizens, and how this role informs their legacy today. Table of Contents [Book] Introduction Robin Schuldenfrei Part 1: Psychological Constructions: Anxiety of Isolation and Exposure 1. Taking Comfort in the Age of Anxiety: Eero Saarinen’s Womb Chair Cammie McAtee 2. The Future is Possibly Past: The Anxious Spaces of Gaetano Pesce Jane Pavitt 3. Scopophobia/Scopophilia: Electric Light and the Anxiety of the Gaze in American Postwar Domestic Architecture Margaret Petty Part 2: Ideological Objects: Design and Representation 4. The Allegory of the Socialist Lifestyle: The Czechoslovak Pavilion at the Brussels Expo, its Gold Medal and the Politburo Ana Miljacki 5. Assimilating Unease: Moholy-Nagy and the Wartime-Postwar Bauhaus in Chicago Robin Schuldenfrei 6. The Anxieties of Autonomy: Peter Eisenman from Cambridge to House VI Sean Keller Part 3: Societies of Consumers: Materialist Ideologies and Postwar Goods 7. "But a home is not a laboratory": The Anxieties of Designing for the Socialist Home in the German Democratic Republic 1950—1965 Katharina Pfützner 8. Architect-designed Interiors for a Culturally Progressive Upper-Middle Class: The Implicit Political Presence of Knoll International in Belgium Fredie Floré 9. Domestic Environment: Italian Neo-Avant-Garde Design and the Politics of Post-Materialism Mary Louise Lobsinger Part 4: Class Concerns and Conflict: Dwelling and Politics 10. Dirt and Disorder: Taste and Anxiety in the Working Class Home Christine Atha 11. Upper West Side Stories: Race, Liberalism, and Narratives of Urban Renewal in Postwar New York Jennifer Hock 12. Pawns or Prophets? Postwar Architects and Utopian Designs for Southern Italy Anne Parmly Toxey. Coda: From Homelessness to Homelessness David Crowley

Information Security as Exemplified by Clandestine Collaboration and Influence Exerted by the Polish Internal Security Agency Officers on Journalists - De Lege Lata and De Lege Ferenda Regulations

The text addresses the issue of information security as exemplified by clandestine collaboration and the influence exerted by the Internal Security Agency officers upon journalists. The texts analyzes the de lege lata regulations as well as the de lege ferenda ones. As for the former, the penal provisions of the Act, that is Articles 153b–153d (Chapter 10a) are applicable, whereas as for the latter, the applicable regulations are the 2013 Bill Articles numbered 197-199 (Chapter 10). In both the 2002 Act on the Internal Security Agency and Foreign Intelligence Agency as well as in the 2013 draft Bill of the Internal Security Agency, the legislator penalizes the employment by the officers of the information acquired while fulfilling or in connection with official duties for the purpose of affecting the operation of public authority bodies, entrepreneurs or broadcasters, editors-in-chief, journalists and persons conducting publishing activity. Also, the text analyzes regulations concerned with the penalization of clandestine collaboration engaged in by ABW officers with a broadcaster, editor-in-chief, a journalist and a person conducting publishing activity.

Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Mid-Century Molecular: The Material Culture of X-ray Crystallographic Visualisation across Postwar British Science and Industrial Design

This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.

Which Legal Standards Should Apply To Web-logs? The present legal position of Internet journals in the European iuris prudence in the light of the European Parliament Committee’s on Culture and Education report and Polish Supreme Court decision

The article discusses the present status of weblogs and examines whether legal standards applicable to traditional press and media should be applied to that specific forum. The analysis is based on two key documents: the Draft Report on the concentration and pluralism in the media in European Union (2007/2253(INI)) of the European Parliament Committee on Culture and Education presented in March 2008 and a landmark decision of the Polish Supreme Court from July 26, 2007 (IV KK 174/07) in the light of present judicial tendency in other European countries. The first of the mentioned documents calls for the “clarification of the legal status of different categories of weblog authors and publishers as well as disclosure of interests and voluntary labelling of weblogs”. It emphasizes that the “undetermined and unindicated status of authors and publishers of weblogs causes uncertainties regarding impartiality, reliability, source protection, applicability of ethical codes and the assignment of liability in the event of lawsuits”. The position of the European Parliament, expressed in the document, raises serious questions on the limits of freedom of thought and speech on the Internet and on the degree of acceptable state control. A recent Polish Supreme Court decision, which caused quite a stir in the Polish Internet community, seems to head in the very direction recommended by the EP Culture Committee. In a case of two editors of a web journal (“czasopismo internetowe”) called “Szyciepoprzemysku”, available on-line, accused of publishing a journal without the proper registration, the Polish Supreme Court stated that “journals and periodicals do not lose the character of a press release due solely to the fact that they appear in the form of an  Internet transmission”, and that ‘’the publishing of press in an electronic form, available on the Internet, requires  registration”. The decision was most surprising, as prior lower courts decisions declined the possibility to register Internet periodicals. The accused were acquitted in the name of the constitutional principle of the rule of law (art. 7 of the Polish Constitution) and the ensuing obligation to protect the trust of a citizen to the state (a conviction in this case would break the collateral estoppel rule), however the decision quickly awoke media frenzy and raised the fear of a need to register all websites that were regularly updated. The spokesman of the Polish Supreme Court later explained that the sentence of the Court was not intended to cause a mass registration of all Internet “periodicals” and that neither weblogs nor Internet sites, that were regularly updated, needed registration. Such an interpretation of the Polish press law did not appear clear based only on the original text of the judgment and the decision as such still raises serious practical questions. The article aims to examine the status of Internet logs as press and seeks the compromise between the concerns expressed by European authorities and the freedom of thought and speech exercised on the Internet.

Made in “Polish village” – modern ethno-design vs. traditional culture of Polish countryside

Tradycyjna polska wieś – kolorowa, wesoła, zintegrowana z naturą i rządząca się swoimi prawami to zbiorowy mit, odległy w czasie. To klasyczny temat wielu poszukiwań etnografi cznych – terenowych, naukowych opracowań i porównań. We współczesnym świecie mamy do czynienia jedynie z wybranymi elementami – tradycjami jeszcze żywymi lub przetworzonymi i dostosowanymi do wymogów współczesnego odbiorcy – turysty, ale także artysty i projektanta. Obecne zainteresowanie polską sztuką ludową i rzemiosłem to kolejna fala mody folkowej. Ten ogólnoeuropejski trend, poszukujący w kulturze egalitarnej natchnienia i inspiracji swój początek bierze w I połowie XIX wieku. W polskiej sztuce dekoracyjnej (wzornictwie przemysłowym) także nastąpił powrót do źródeł, a w ludowości i wiejskości doszukiwano się narodowego ducha, inspiracją dla polskich artystów był angielski Ruch Arts and Craft, a w ich projektach widoczne były echa fi lozofi i Johna Ruskina oraz Williama Morrisa m. in. odrzucających masową produkcję, mającą wg nich zły wpływ na jakość produkowanych przedmiotów, jednocześnie na piedestał wynoszących umiejętności rękodzielnicze i rzemieślnicze. Po okresie PRLu utożsamianym głównie z funkcjonowaniem Cepelii i sprowadzeniem produktów inspirowanych ludowością do roli masowych dekoracji, stanowiących często synonim kiczu, powróciła moda na polskie rękodzieło, tradycyjną sztukę ludową oraz na inspiracje wypływające z obserwowania wiejskiego stylu życia. Współczesne poszukiwania polskich twórców w obszarze tworzących w ramach nurtu zwanego etnodizajnem przebiegają dwutorowo. Z jednej strony to inspiracja tylko przejawami ludowości, jej konkretnymi wytworami, które stanowią głównie dekorację dla współczesnych rozwiązań formalnych i technologicznych. Jednak coraz silniejszy jest drugi nurt,starający się wniknąć głębiej, którego celem jest zrozumienie istoty tradycyjnej kultury ludowej polskiej wsi. To inspiracja wiejskim stylem życia, wraz z jego zaletami i wadami, to wreszcie inspiracja zmieniającym się krajobrazem kulturowym i poszukiwanie nowych rozwiązań, dzięki którym odbiorca zbliży się do natury. Projekty zaliczane do nurtu etnodizajnu cechuje przede wszystkim różnorodność wykorzystanych materiałów (tradycyjnych i nowoczesnych), sposób ich przetworzenia, zachowanie pierwotnej funkcji lub nadanie nowej. Większość tych projektów sytuuje się też w nurcie eko-artu, sztuki nawiązującej do natury, z wykorzystaniem ekologicznych materiałów. Jest więc etnodizajn XXI kontynuacją ideologii stworzonej już w wieku XIX – przeciwstawieniem dla przemysłu, technicyzacji i umasowienia. A dla współczesnego człowieka – miejskiego – może być etnodizajn powrotem do źródeł.

Paul Renner: the art of typography

The first study, in any language, of this German typographer and type designer. Renner’s work exemplifies central themes in German culture in the first half of the twentieth century. Starting as an artist and book designer in the Munich cultural renaissance, he was an early and prominent member of the Deutscher Werkbund. In the 1920s Renner worked in Frankfurt, one of the centres of socially-engaged modernism; around this time he began work on his enduring typeface, Futura. Moving to Munich, he ran the printing school that included Jan Tschichold among its teachers. In the crisis of 1933 he was detained and then dismissed from his post. Living through the Nazi years in inner emigration, Renner emer­ged as a voice of experience and reason in postwar debates.

Modernist Success in a Postmodern Failure: Jackson Pollock and Abstract Expressionism, the Avant-Garde and the Ascension of Late Capitalism, Art after 1945

It is hard to imagine the magnitude of the events at the end of World War II. The thought produced in the face of a myriad of deaths is almost unfeasible sixty years after the fact, but the energy was integral to the changing social landscape. Because of the country's prominence in and fortitude after the war, the U.S. was left responsible for reshaping and rejuvenating the international landscape that was destroyed by the years of brutal fighting and vile contestation. The American establishment was granted a major opportunity to establish itself amongst the global leaders. Such a grand responsibility must account for the multiplicity of thought that arises in such a decisive moment. In order to align the Abstract Expressionist art movement with the intersection of the intense, multifaceted thought developed during the postwar period, the following will discuss the political, philosophical, economic, and art historical overlap that occurred in the mid to late 1940s in the hopes of illustrating the fertility yet lingering problems associated with the restructuring of the world with America at the helm. In this way, the duration of the Abstract Expressionist moment will be better understood for both its triumphs and downfalls.