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4 Estetyka i Krytyka

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100%

Tendera P. A.

Estetyka i Krytyka

2008

nr 13-14

299-305

Dwa bałwany rozmawiają o... sztuce

88%

Kamisińska D.

Estetyka i Krytyka

2013

nr 3(30)

55-70

The text is an attempt to draw attention on the artificially created and overly publicized „crisis” in contemporary art, and related to this, signaled by art critics and artists, the need to redefine the status of the artist, the characteristics and location of art works, as well as the recipient’s participation in the creative process. The pretext for the discussion was a picture of Norbert Schwontkowski Two artists talk about... and also the opinion of Arthur C. Danto, that „the art will always have something to do, if the artists are content with that.” Imaginary confrontation of artistic views of two discussing snowmen does not lead to clear conclusions, which, perhaps, once again confirms our belief that the art, especially the one that has „something to do,” is better to be created than to argued about.

Powtórzenie w sztuce polskiej od lat 90. XX wieku a problem końca sztuki

75%

Śniegocka B.

Estetyka i Krytyka

2013

nr 3(30)

129-144

Article presents ways of using the philosophy of difference and repetition as a method of interpretation the contemporary Polish art. It is shown how the philosophy is functioning and forming itself. Theoretic considerations apply concepts of Gilles Deleuze and Jacques Derrida and the use of this line of researches in the discourses of art taken by Rosalind Kraus, Umberto Eco and Arthur C. Danto. Synthetic analysis of repetition which is understood as a morphological, ostentatious, transformation and transfiguration can be found both in the pop-art and contemporary Polish art, called popbanalizm, which for the purposes of the article is represented by Wilhelm Sasnal, Marcin Maciejowski, Jakub Julian Ziółkowski, Agata Bogacka, Jawdiga Sawicka.

Trwanie plamy i migotanie linii. Przestrzeń i czas w grafikach Arthura C. Danto

75%

Winskowski P.

Estetyka i Krytyka

2016

nr 3(42)

193-218

The woodcuts of Arthur C. Danto remain overshadowed by his work as a philosopher, aesthetician and art critic. The present article addresses several formal aspects of these woodcuts, beginning with an analysis of the graphic line and the way in which these lines are composed of stains, the suggestion of space appearing at the edge of the line, the relationship between the amount of time invested in the making of a woodcut and the time taken up by its perception as well as the aesthetic motifs of the Far East, especially in terms of the spontaneity of the artistic act set against the time-consuming and disciplined production of a woodcut block. The text refrains from analysing the relationship between Danto’s philosophical theorising and his artistic work and instead identifies particular technical characteristics of his work that may constitute a starting point for a general aesthetic reflection on his woodcuts and, subsequently, on the relationship between the act of creating and the act of philosophising.