One of the characteristics of the Vienna School of Art History, as Hans Tietze writes in The Method of Art History, is the conviction that ‘living art is the key to dead art’. The article draws ...connections between the lively art debates in Vienna in the first decade of the twentieth century, the breakthrough of Plečnik’s and Meštrović’s art, and the art historians who, at the beginning of their careers, were just beginning to explore the relationship between the formulation of method and the object of research, and places them in the broader historical context of the situation of small nations just before the dissolution of the monarchy. After the 1914–1918 war, central questions in art and science were reopened at the fringes of the former monarchy. Collaboration between scholars and artists was crucial not only for the development of the professions, but also for the formation of a modern cultural identity and sovereignty in the new multi-ethnic state.
Art and Rebellion Grafenauer, Petja; Tepina, Daša
Third text,
09/03/2022, 2022-09-03, Letnik:
36, Številka:
5
Journal Article
Recenzirano
Odprti dostop
The aim of this article is to document, contextualise, and theorise the rebellious actions carried out by artists in Slovenia in 2020-2021, and to present these actions as a continuation of the ...avant-garde movements of the twentieth century. We focus on the diverse actions and protests carried out by a strong alliance of artists, anti-capitalists, anti-fascists, ecological movements, and other civil structures that continue to challenge the oppressive autocratic powers. When art becomes confrontational, it fights for its autonomy and its production can achieve an aesthetic revolutionary potential. So when it demands the impossible, it fights for its space and position and becomes life itself, it becomes avant-garde. We could therefore say that the politics of aesthetics has a way of producing its own politics, proposing to re-arrange politics, re-configure art as a political issue or assert itself as true politics.
Josip Mantuani was the first Slovenian student at the Vienna School of Art History. Yet after his passing he was forgotten by his own profession for a long time. Important aspect which influenced how ...his work was assessed in the past is connected with the circumstances surrounding his professional and scientific work. Another reason for Mantuani’s oblivion lies in his personal relationships with the younger generation of art historians, France Stele, Izidor Cankar and Vojeslav Mole. A thorough reading of Stele’s obituaries for Mantuani provides a clear enough picture of how he was perceived as an art historian by his younger colleagues but is also interesting in the light of the subsequent development of the historiographical treatment of Mantuani’s work.
The authors of the volume ('From May ’68 to November ’89: Transformations of the World, Literature, and Theory') intervene in the study of the student movement’s “rehearsal” for a world revolution ...and its afterlife in the 1980s and 1990s by addressing two hitherto neglected aspects – the literary and the peripheral. They consider the roles played by the (semi-)periphery of the modern world-system, on the one hand, and modernist literature and theory, on the other, in transforming the existing world order in the fields of culture, politics, economy, and everyday life. How were critical theory and neo-avant-garde literature in the world, in Slovenia, and in Yugoslavia intertwined with the student protest that advocated the transformation of the capitalist world-system and its socialist counterpart? The monograph focuses on the processes that connected the events of 1968 and 1989 in the social, literary, and theoretical spheres in the sign of continuity and turning points, and at the same time defined our contemporary world.
Following paper is a part of a bigger research in the field of didactics of art education and printmaking in primary school. Paper sums up a part of research that deals with feasibility of practising ...different printmaking techniques in the first triad of primary school. During our research we carried out lessons of art education with the same art field (printmaking) and the same motif (self-portrait). In the first part of the lessons, students learned about selected Slovenian printmakers and their works with the motif of self-portrait. We highlighted the importance of Slovenian art. Through artworks, they learned about printmaking techniques, art terms and motif of self-portrait. In the first part of the paper we present printmaking in primary school, printmaking techniques and operational goals concerning the field of art education, as dictated by the curriculum (Učni načrt, 2011). In the second part of the paper we present results of the survey in which students had to show preference for either printmaking technique or for motif of self-portrait. We also present short description of printmaking techniques that we performed in class. Results of the research show that, in the first triad, it is possible to perform the printmaking techniques that are presented in the curriculum and also techniques that are somewhat unknown and unusual, experimental. In most cases, students didn't have any problem understanding the technical process of making a matrix, understanding the print and the principle of mirror image.
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