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<title>2017, Studia de Arte et Educatione 12</title>
<link href="http://hdl.handle.net/11716/12126" rel="alternate"/>
<subtitle/>
<id>http://hdl.handle.net/11716/12126</id>
<updated>2026-04-30T02:45:28Z</updated>
<dc:date>2026-04-30T02:45:28Z</dc:date>
<entry>
<title>Miłośnicy kontra krytycy i artyści, czyli spory wokół Zachęty w międzywojennej Polsce</title>
<link href="http://hdl.handle.net/11716/12140" rel="alternate"/>
<author>
<name>Wasilewska, Diana</name>
</author>
<id>http://hdl.handle.net/11716/12140</id>
<updated>2023-06-13T11:57:45Z</updated>
<published>2017-01-01T00:00:00Z</published>
<summary type="text">Miłośnicy kontra krytycy i artyści, czyli spory wokół Zachęty w międzywojennej Polsce
Wasilewska, Diana
The Society for the Encouragement of Fine Arts was founded in 1860 in order to promote&#13;
and support young Polish artists and popularize art as an important element of&#13;
socio-cultural life at a time when Poland did not exist as an independent state. In 1900&#13;
was established the Zachęta Art Gallery, where, from 1911 to 1939 the board of the Society&#13;
organized annual Salons – overviews of present art, selected and organized by members of&#13;
the Society: artists and so-called art lovers. Although the political and artistic reality have&#13;
been changed, the specific character of this institution was still the same. As a result, in&#13;
the interwar period Zachęta was deemed to the synonym of obscurantism, fundamental&#13;
ignorance, megalomania, cheap patriotism and narrow views. It was the reason why many&#13;
artists, who had not accepted the situation, boycotted the gallery. On the other hand, the&#13;
artist who exhibited at Zachęta became the object of ruthless attacks and sharp criticism –&#13;
not only from the ex-Formists or Constructivists, but also from critics and artists who were&#13;
unsympathetic or even hostile towards the avant-garde. Surprisingly, the battle against&#13;
Zachęta was the factor that united most critics from both side of artistic barricade.
</summary>
<dc:date>2017-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Władza sądzenia – władza spojrzenia. Rola kuratora i krytyka a ocena fotografii</title>
<link href="http://hdl.handle.net/11716/12139" rel="alternate"/>
<author>
<name>Sikora, Piotr</name>
</author>
<id>http://hdl.handle.net/11716/12139</id>
<updated>2023-06-13T11:49:19Z</updated>
<published>2017-01-01T00:00:00Z</published>
<summary type="text">Władza sądzenia – władza spojrzenia. Rola kuratora i krytyka a ocena fotografii
Sikora, Piotr
The article is focused on the model of photography competitions and it’s influence on the&#13;
traditional distinction between the role of an art critic and curator. Analyzing contemporary&#13;
photography in the field of arts I recall quotation from Mieczysław Porębski claiming that&#13;
the ultimate function of an art critic is “to make art visible” to the wider audience. I make&#13;
an attempt to apply this specific function into a certain model of art distribution known as&#13;
photography competitions where jury board use tools taken from art critique and criticality.
</summary>
<dc:date>2017-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Trupia perwersyjność albo Akademia wszelkiej sciencyi pełna</title>
<link href="http://hdl.handle.net/11716/12138" rel="alternate"/>
<author>
<name>Oczkowska, Katarzyna</name>
</author>
<id>http://hdl.handle.net/11716/12138</id>
<updated>2023-06-13T11:41:09Z</updated>
<published>2017-01-01T00:00:00Z</published>
<summary type="text">Trupia perwersyjność albo Akademia wszelkiej sciencyi pełna
Oczkowska, Katarzyna
The article concerns a series of photographies It is hard to slay the dragon, but you must&#13;
try (2016) by Irena Kalicka. Photos are based on The New Athens by a Polish Jesuitical&#13;
priest Benedict Chmielowski. His work is defined to be the first Polish encyclopedia of the&#13;
18th century. Some excerpts from the Sarmatian compendium of the knowledge of that time&#13;
are analyzed in the context of an essay by Maurice Blanchot The corpse similarity. In examining&#13;
the timeliness of phantasms presented in New Athens, Kalicka deposited them in the&#13;
contemporary sociopolitical of context, pointing to the tendency of the culture to mediations&#13;
and various types of artificial constructs. In this way, the cycle becomes the manifestation of&#13;
view, based on the oversight and aesthetization.
</summary>
<dc:date>2017-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Pomiędzy sztuką ludową, propagandą a surrealizmem Jak widział przestrzeń publiczną Władysław Hasior</title>
<link href="http://hdl.handle.net/11716/12137" rel="alternate"/>
<author>
<name>Wincenciak, Katarzyna</name>
</author>
<id>http://hdl.handle.net/11716/12137</id>
<updated>2023-06-13T11:33:05Z</updated>
<published>2017-01-01T00:00:00Z</published>
<summary type="text">Pomiędzy sztuką ludową, propagandą a surrealizmem Jak widział przestrzeń publiczną Władysław Hasior
Wincenciak, Katarzyna
The article brings a closer look at examples of Władyslaw Hasior photo-documentary practice&#13;
of objects in public spaces during communist period in Poland. The text concentrates on the&#13;
sociological context, which was a kind of exodus that took place in the first after World War&#13;
II years, when citizens lived in the rural area moved to the cities. This mixing the social strata&#13;
caused the damage to traditional folks art but also brought what might be called a “new folklore”.&#13;
Although this area, was beyond interest of researchers and designers. We get a closer&#13;
look to some set of slides Hasior made and analyze purpose of the objects that he pictured.
</summary>
<dc:date>2017-01-01T00:00:00Z</dc:date>
</entry>
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