Methods & theories of art history by Anne D’Alleva(Book) Anne D’Alleva explores the myriad art traditions and practices of Island Melanesia, Polynesia, Micronesia, and New Guinea from . Metody i teorie historii sztuki by Anne D’ Alleva(Book) Audience level: (from for Native Ame to for Metody i t ). Booko search results for Anne D’Alleva. Displaying all 15 entries for query ‘ Anne D’Alleva’ Metody i teorie historii sztuki · by Anne D’Alleva. L – lecture, T- tutorial, D – discussion class, Lab – laboratory, or other. 2. . D’ Alleva A., Metody i teorie historii sztuki, przeł. E. i J. Jedlńscy, Anna Nawrot.
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On the other hand, the perspective of traditions from the Far East, the mysticism of the West, informalism or neodesign aesthetics irresistibly impose their presence.
Some of her works can also be included in the category of landscape architecture, which after all is more and more situational, ephemeral and symbolic. And on the other hand: How to identify subjectivity which endlessly questions itself through universalizing or accidental gesticulation? Her lines will, like a Greek chorus with its refrain, give rhythm to the present argumentation. Increasingly seldom one can encounter artists such as Urszula Wilk, who remain loyal to their own ideas and intuition.
Her starting point takes the form of faith in the elevated character of direct painting gesture. In the power of experiencing this what is before language and what is relevant. I will carry out my reasoning from various points, taking into consideration categories in my opinion crucial for her painting spaces e.
By the force of al,eva, it will be a draft only. And also to sketch the consequences put forward by her works. The majority of mystical attitudes is based on the idea of integrity. More toerie, in turn, in Romanticism instigating the experience of abyss and immensity.
The echo of this approach is also found in avant-garde, in its hope that the new form will open new and more complete meanings and feelings. Urszula Teorif fits in these various and complex traditions.
She initiates certain games and perhaps — even less discoursively — only concatenations, clashes of occurrences, emptiness and unlimited freedom of the painting gesture. The concatenations of fullness and emptiness, of universal and accidental.
Mutually inseparable and complementary, like Yin and Yang, like Good and Evil. Of course, the analogy to painting techniques of Taoism and Buddhism imposes its presence here. Some records concerning peculiar Chinese Ink-Wang mysteries of spilling black ink at the white canvas date back as early as to the 7th century AD. Canvasses that juxtapose the emptiness with form like in the later ukiyo-e images.
It manifests metaphysics that is completely distinct from our own, and distinct imagination, because the concrete is created there through distorting and damaging the unity.
Therefore, the painting gesture, by breaching the potential fullness of the emptiness, paradoxically makes it more real but only as… a delusion. Tao wisdom consists in a simple, spontaneous interaction between natural cycles.
It organically situates us with respect to the unity rather allevva the concrete form. The purpose of wu-wei is peace, which results from the compliance with the rhythms of natural energy flows, instead of Platonic motionless possession of truth as the only and ultimate form. Equally interesting parallels may be created with respect to the Kabbalah tradition.
The 20th century made us realize that we lost the o perspective of seeing, we lost the common visibility. We replaced it with endless flickering of various demands, usurpations and marketing.
And with scattered images Benjamin. The artist today faces the alternative — whether to get involved in this game of flickering or whether to go beyond it with excess or szttuki Visuality is direct, oblivious, natural.
Hiwtorii visibility constitutes cultural iconographic community. Visuality happens through IS, through inconceivable and cosmic. And at the same time, it also wants to exist. Even as a trace, suggestion or feeling. Of course, such a general approach imposes questions concerning the unity, the visibility as such. Naturally, the pervasive look is impossible and unimaginable. Particularly in the world ravaged by the so called philosophy of superstitions.
As the negative aspect of emptiness whose synonym in painting is represented histodii the whiteness of the painting support. Changes in the contemporary times coerce searching for a new understanding and perception of form. It is a very important task for the contemporary art. The form is not a conclusion any more but a process-like display of irreducible changeability, complexity and plurality. Nane similar focus we should also bring the importance back to what is unspeakable, teori or impossible to portray.
Of course, humans have made similar attempts since the beginning of time. However, we discover anew e. Baroque, whose realism rapidly changes from the blackness of nothingness into the blackness of infinity. Or impressionism, which makes an attempt to capture and portray the idiom of a particular moment. An accident was considered to be the anchor of what is unitary and exceptional.
Jedlińska, Eleonora [WorldCat Identities]
So was a mistake. Therefore, the 20th century art, and in particular avant-garde, strongly believed in the emancipating and creative power of causing anomalies. The accident was introduced to art among others through the strategies of ephemeralness impressionismfragmentariness collageapleva, experiment or the concept of game. And what above all makes her painting ritualizations and mysteries up-to-date are the multidimensional clashes between the accident and the adventitiousness.
In brief, accidentality means unpredictable freedom and chaos. Adventitiousness, in turn, is customarily attributed to postmodernism. It is a situation when by acting without principles, or rather acting by creating the principles, with every other step we limit our possibilities. The previous gesture somehow suggests, programs, and later even forces the following one. Currently, more and more often the occurrence of events understood as the unordered sequence of peculiarities imposes its presence e.
The tangram, a Chinese game changing its own rules, i. Hence, a primitive gesture being the basis of the symbolic dimension of our existence was probably represented by lifting a stone up.
Defying the natural inertia. In turn, the accident would be manifested here by unpredictable scraps of strong hits. Their accumulation and multiple layers. And adventitiousness means elusive preferences included in the unawareness of the spontaneous gesture. An attempt to visualize the unawareness was already made by surrealists using the so called automatic writing strategy. By changing the position of the painting she alters the directions szfuki which the paint is dripping. She consistently juxtaposes any kind of definiteness form with the lack of it.
With emptiness which scrutinizes the definiteness. Here, the additional emptiness may also be complemented by allvea, by the density of form.
Hence, through overabundance we also lose orientation. They together create breaches and suspensions in the unstoppable palimpsest of anen our visibility.
D’Alleva, Anne [WorldCat Identities]
The artist hhistorii the world of necessity and accident with hardly visible rhythms, regular repetitions, conscious stimulated densifications, modulating contrast or the multidirectional dripping. On the other hand, perspective and illusion of depth are replaced by multidimensionality. It will sound rather paradoxically in the times of ever omnipresent criticism, but aestheticism can also be an emancipating and creative form.
Forgetful of paralyzing mediations, multiplication of layers and loops of our culture, Urszula Wilk directly refers here to intuition. Hence, the intuition is the medium teore which anti images of mysticism from the East and the West take the shape of aestheticism. Moreover, it is the aestheticism somehow in the pure form — primitive, archetypical, and not styling. And the cornerstone of the abstraction was not only represented by the teori avant-garde but also equally by the pantheistic theosophy.
And its cardinal principle of searching for the hidden harmony of everything. The first concept is the basic principle tworie the pre-conscious ordering of space and of the whole economy of perception. The German philosopher opposed it with the derivative aestheticisation understood as beautification.
Of course, the images described here resonate also with other aesthetics. Quite a significant function is undoubtedly played here by Japanese Wabi-sabi aestheticism, which accepts imperfections of the world of things.
As well as the awareness of their state of alteration and continuous incompleteness. The concept of apleva is another issue characteristic of this artistic output. Recently, the vitality of art has been related to the change of formal approach into the so called problematic one. However, it turns out that it can be equally subject to routine and thoughtless. Hence, the growing popularity v clinamen or subversion strategies, which are conscious that schemes and formalizations are inevitable and it is necessary to outsmart them.
Playing with the schemes. The concept of form and regularity recurs.
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It may also be found in the works by such prominent artists as Anish Kaoor or Tony Cragg. Urszula Wilk seems to fit into this tendency.
She does not gamble on a new status and redefining the form itself, but rather more radically — allleva of the existence of the visibility itself. Their relation with amorphy and polymorphy. Such interests make us face the impossible: And the unity perceived as a dynamic process?
This may be also the purpose of relocating paintings during exhibitions and recomposing already completed paintings anew. Or juxtaposing newly-created fragments according allega the principle of a patchwork.
It also leads to other issues: