Temat: gallery - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: Galeria jako zagadnienie artystyczne w sztuce konceptualnej
Gallery As An Artistic Concept In Conceptual Art
Autorzy:: Guzek, Łukasz
Tematy:: CONCEPTUALISM
CONCEPTUAL ART
CONCEPTUAL GALLERY
GALLERY MOVEMENT
GALLERY NETWORK
COUNTERCULTURE
ANTI-INSTITUTION
ARTIST RUN INITIATIVES
ARI
LIVING GALLERY
ANDRZEJ KOSTOLOWSKI
JAROSLAW KOZLOWSKI
NET ART
PERFORMANCE ART
LIVE ART
ACTION ART; Pokaż więcej
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Powiązania:: https://bibliotekanauki.pl/articles/424714.pdf Link otwiera się w nowym oknie
Opis:: The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 2.

Tytuł:: Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego
The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4
Autorzy:: Guzek, Lukasz
Tematy:: ANDRZEJ PIERZGALSKI
CONCEPTUAL GALLERIES
CONCEPTUALISM
GALLERY 80X140
GALLERY A4
JERZY TRELINSKI
LODZ; Pokaż więcej
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Powiązania:: https://bibliotekanauki.pl/articles/424312.pdf Link otwiera się w nowym oknie
Opis:: The 'Gallery movement', which formed in Poland in the 70s is a world phenomenon that provides extremely rich material, in terms of diversity, as well as in quantitative terms. The galleries were created under the dominant influence of conceptual art, that is why I describe them as 'conceptual galleries'. They played the traditional role of a gallery, that is, they were places of exhibition and they functioned as an 'art container', but at the same time, they were art projects created according to the individual decision of the artist, just like the works of art. They were therefore a form of conceptual art, developed in the 70s, the conceptual art decade. One of the most radical galleries at that time was the 80x140 Gallery, founded by Jerzy Trelinski, in spring 1971 in Lodz. The Gallery operated until 1977. Initially, the gallery space was a wall surface of dimensions given in the name of the gallery (80 x 140 cm). But soon the work presented in the gallery began to develop directly into the space of the room, turning it into an installation space. Then artworks began to be realized around the city and numerous projects by J. Trelinski, as well as collaborative projects, began to be created in various locations outside Lodz, all under the facade of Gallery 80x140. In May 1972, at the 80x140 Gallery, the A4 Gallery began its activity, which was an initiative of Andrzej Pierzgalski. It was perhaps an even more radical art project in the category of 'conceptual galleries', and it was limited to a plain sheet of A4 size paper (literally, a piece of A4 paper was placed within the 80x140 Gallery). This article also announces broader research on issues arising from the 'gallery movement' and the category of 'conceptual galleries' in Polish art of the 70s. The 'gallery movement' also had a social and political dimension. Thus a network of the independent exchange of ideas was created, and it functioned well on an international scale. The patterns of self-organising initiated by the artists' community and the art procedures that were developed in the 70s on the basis of conceptual art, proved extremely useful in the 80s. Also during the economic crisis and transformation of the 90s, the model of a 'conceptual gallery' enabled the artistic community to function, despite limitations of an economic nature. This article describes the methodology of research on the 'conceptual galleries' phenomenon. It contains a detailed description of works that were created in the Gallery 80x140 and Gallery A4 (and under their auspices) throughout the time of their operation. It also presents the consequences that the initiators of these galleries have drawn from them later in their artistic practice; particularly a series of works titled Autotautologies by J. Trelinski, (the artist puts a graphic sign TRELINSKI on various objects and in various places and situations), as well as further artistic development of A. Pierzgalski.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 3.

Tytuł:: The Influence of Extended Contextual Information Provided in a Contemporary Art Gallery on Aesthetic Experience of Art Faculties Students
Autorzy:: Szubielska, Magdalena
Sztorc, Agata
Tematy:: aesthetic judgment
art experts
contemporary art
gallery context
gallery educator-led tour
hedonic value
understanding; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Czasopisma i Monografie PAN
Powiązania:: https://bibliotekanauki.pl/articles/2129801.pdf Link otwiera się w nowym oknie
Opis:: We aimed to investigate whether educational activities in the form of guided tours through an exhibition change the appreciation of art when young experts (i.e. first-years students of artistic faculties) view contemporary art in a gallery. Participants viewed and assessed the artworks presented at the gallery twice – before and after taking part in a guided tour led by a gallery educator. The guide-led tour increased both understanding and ratings (the hedonic value) of the artworks, which is consistent with the “effort after meaning” hypothesis and also with the model of aesthetic appreciation and aesthetic judgments. Our results suggest that the reception of works of art by young experts is changed when they are under the influence of extensive contextual information.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 4.

Tytuł:: Art gallery problem
Problem galerii sztuki
Autorzy:: Pietras, Monika
Opis:: Treścią pracy jest przedstawienie problemu z dziedziny geometrii obliczeniowej polegającego na określeniu najmniejszej liczby strażników koniecznej do ochrony galerii sztuki. Omówiony zostanie oryginalny problem Victora Klee oraz jego modyfikacje. Centralną częścią pracy jest rozważenie przypadku ortogonalnego, dla którego zostanie dowiedzione optymalne oszacowanie.
This work presents a problem in computational geometry which concerns defining a minimal number of guards who together can observe the whole gallery. We will elaborate on the original problem of Victor Klee and some of it's modifications. A central part of the work is studying an orthogonal case for which an optimal estimation will be proved.
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

Inne

na półce

Skocz do pozycji: 5.

Tytuł:: Galeria Starmach
Autorzy:: Drgas, Łukasz.
Tematy:: Starmach Gallery (Kraków).
Galerie sztuki; Pokaż więcej
Cytata wydawnicza:: Plastyka i Wychowanie 1993, nr 5, s.56-58
Dostawca treści:: Bibliografia

Artykuł

na półce

Skocz do pozycji: 6.

Tytuł:: Ruch galeryjny w Polsce. Zarys historyczny. Od lat sześćdziesiątych poprzez galerie konceptualne lat siedemdziesiątych po ich konsekwencje w latach osiemdziesiątych i dziewięćdziesiątych
The Art Gallery Movement in Poland. A Historical Outline. From the Sixties, Through the Conceptual Galleries of the Seventies, Until Their Consequences in the Eighties and the Nineties
Autorzy:: Guzek, Lukasz
Tematy:: conceptual art
conceptual gallery
conceptual galleries movement
art gallery movemet conceptual art in Poland
art of 70s; Pokaż więcej
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Powiązania:: https://bibliotekanauki.pl/articles/424263.pdf Link otwiera się w nowym oknie
Opis:: The gallery movement was in fact an art institution in Poland. The movement created its own art world based on the principles of self-organisation and self-study. People who participated in it were artists, art professionals and art lovers, altogether so called ‘conducive people’. Around each of such institutions its circles emerged – communities that co-operated with each other within the town, the country or internationally. This is how the network of personal ties as well as artistic influences appeared. A formal-artistic feature of the movement was the great number of various action art forms or, more broadly – art based on the present-ness. The history of the movement embraces half a century of contemporary Polish art. It starts just after Stalinist times. In 1956 in Krakow there emerged the Krzysztofory Gallery founded by the Grupa Krakowska [Krakow Group] Association, that directly continued the tradition of the pre-war avant-garde. The development of the movement in the seventies was especially dynamic, forming a conceptual art decade during when the conceptual galleries movement emerged. The expansion of the definition of art by the conceptual art movement allowedfor the making of a gallery to be as significant as making art. That period was ended by the imposition of martial law on December 13th, 1981. In those extremely unfavourable conditions the gallery movement and art communities showed their strength. After the total elimination of art in the public sphere, the world of art revived quickly and relocated into the private sphere – private studios and apartments. The art community in Łódź, where the tradition of selforganisation was especially strong, was able to organise the movement throughout the whole country. It was later called the “Pitch-in Culture”. After 1989 and the fall of communism, first in Poland and then in the whole of Eastern Europe, the new social and political conditions caused changes in the way the art world began to be organised.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 7.

Tytuł:: Wstydliwe pytanie: ile to kosztuje?
Autorzy:: Starmach, Andrzej (1953- ).
Współwytwórcy:: Ratajczak, Mirosław.
Starmach, Andrzej (1953- ).
Tematy:: "Starmach Gallery" (Kraków). kaba; Pokaż więcej
Cytata wydawnicza:: Odra 1998, nr 7/8, s. 90-95
Dostawca treści:: Bibliografia

Artykuł

na półce

Skocz do pozycji: 8.

Tytuł:: NOWA FORMA MUZEUM SZTUKI – GALERIA SZTUKI W WIELKIEJ BRYTANII W CZASACH WIKTORIAŃSKICH
A NEW FORM OF ART MUSEUM – THE ART GALLERY IN VICTORIAN BRITAIN
Autorzy:: Giles, Waterfield,
Tematy:: art museum
art gallery
private collections
exhibition; Pokaż więcej
Wydawca:: Krajowy Ośrodek Badań i Dokumentacji Zabytków
Powiązania:: https://bibliotekanauki.pl/articles/433137.pdf Link otwiera się w nowym oknie
Opis:: The article is devoted to the idea of the art gallery that flourished in Victorian Britain. The author describes the social and political background of the phenomenon of a new form of a museum, namely the art gallery which used to be private and popular expenditure on the arts. A rage for exhibitions erupted in nineteenth century Britain. The exhibition was central to the new art museums. These included high-minded historical surveys of world history or world art; trade exhibitions; displays of work by contemporary artists; displays of single paintings; assemblies of works from private collections, held both at the Royal Academy of Arts and in many major towns; everything except single-artist exhibitions which were regarded as vulgarly commercial. Many of the new museums were financed by such events, so that, for example, the new buildings at Kelvingrove in Glasgow were originally built to accommodate a huge popular exhibition. One of the prime purposes of the new galleries was to accommodate annual shows of work by artists, a tradition that had existed since the early nineteenth century. These art museums flourished for only a short time, and their principal legacy in material terms is the large number of well-built structures that was created for them. But the idea of creating a museum that could be enjoyed by all, free of charge, was a worthwhile one, one that has become hugely important in contemporary Britain, and that represents I believe a pioneering ideal.
Artykuł jest poświęcony idei galerii sztuki, która rozkwitła w Wielkiej Brytanii w epoce wiktoriańskiej. Autor opisuje tło społeczne i polityczne fenomenu nowej formy muzeum, czyli galerii sztuki, które były prywatnym, bardzo popularnym sposobem prezentowania sztuki. W XIX-wiecznej Wielkiej Brytanii nastała mania organizowania wystaw, które stały się punktem kluczowym i działaniem priorytetowym dla nowych muzeów sztuki. Dotyczyło to zarówno merytorycznych badań historycznych nad historią świata czy sztuki światowej, jak i wystaw handlowych, pokazów prac współczesnych twórców, pokazów pojedynczych obrazów czy zbiorów prac z kolekcji prywatnych. Wystawiano zarówno w Królewskiej Akademii Sztuk Pięknych, jak i w wielu mniejszych miastach. Wiele z nowych muzeów poprzez tego typu wydarzenia pozyskiwało środki na dalsze działania, np. nowy budynek Galerii Kelvingrove w Glasgow wybudowano by zorganizować tam wielką popularną wystawę. Jednym z głównych celów nowych galerii było pomieszczenie w nich dorocznych pokazów dzieł artystów; tradycja ta istniała już w początku XIX wieku. Rozkwit muzeów sztuki w Wielkiej Brytanii przypada na krótki okres, a główną pod względem materialnym spuścizną po nich jest ogromna liczba solidnych budynków wzniesionych na ich siedziby. Jednak idea tworzenia muzeum, które sprawiałoby radość i byłoby bezpłatne była tego warta i niezwykle ważna dla współczesnej Wielkiej Brytanii. Moim zdaniem, stanowi ona pionierski ideał.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 9.

Tytuł:: Information model of Web-gallery ta king into account user’s interests
Autorzy:: Ryshkovets, Yu.
Zhezhnych, P.
Tematy:: Web-gallery
user’s interests
linguistic variable
database; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Oddział w Lublinie PAN
Powiązania:: https://bibliotekanauki.pl/articles/411379.pdf Link otwiera się w nowym oknie
Opis:: Web-galleries which take into account user’s interests can reorganize the structure of its content according to user’s interests and peculiarities of their behaviour. Each Webgallery encompasses expositions that to some extent reveal defined thematic categories. Each exposition contains exhibits which not always fully reveal its content. Exhibits that polory reveal the content of exposition distract users and distort their interpretation. This paper describes software architecture of Web-gallery in which user’s interests and interaction of components are taken into account.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 10.

Tytuł:: Leszek Przyjemski - "Polski sytuacjonista"
Leszek Przyjemski – ‘Polish situationist’
Autorzy:: Guzek, Łukasz
Tematy:: Przyjemski
Parisian May
detournament
grotes que
‘Tak ’ Gallery; Pokaż więcej
Wydawca:: Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Powiązania:: https://bibliotekanauki.pl/articles/487621.pdf Link otwiera się w nowym oknie
Opis:: I analyze detournament in the work by Leszek (Leonard) Przyjemski – one of the basic strategy by situa-tionists. Przyjemski graduated from the Academy of Fine Arts in Gdansk in 1968 – in the year of the student revolt in Paris, where the Situationists celebrated their strategies as the biggest triumph. There is no hard evidence (the artist does not provide any) that he was directly inspired by those events. The analysis is therefore based on the similarity of the results. This revolt was directed against authority and oppression in both the capitalist and communist systems. The situational strategy was used by many artists, including for example Przemysław Kwiek, Marek Konieczny, Pawel Freisler, and Anastasius Wisniewski who cooperated with Przyjemski at the beginning of their careers. It was Przyjemski, though, who considered the situationist strategy as the basis of his artistic method which he used throughout his career. Situationist strategy includes the reversal of the vector of meanings. Detournament reveals itself also (but not only) through the use of comedy – through incompatibility of ideas and reality, most often through the reduction ad absurdum. In his artwork, humor is associated with reflec-tion. I describe the most important artwork by Przyjemski, and I analyze it in the context of detournament strategy. I also describe the significant shift in Przyjemski’s detournament in connection with the activities by other Situationists. The most important difference is the lack of set goals – social, general – in Przyjemski’s artwork (other Polish artists followed the same idea). It was their response to the situation in which they found themselves in Poland.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Informacja

Wyszukujesz frazę "gallery" wg kryterium: Temat