Zbornik 3 / 2007 (Muzej primenjene umetnosti. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Štampano izdanje)
PDF štampanog izdanja (4.8 MB)
Glavni i odgovorni urednik: Ivanka Zorić
Urednik broja: Milica Križanac
Sekretar redakcije broja: Andrijana Ristić Jelena ĆeranićSvi tekstovi u rubrikama Prilozi, Polemike, Kritike i Prikazi se recenziraju.
Sadržaj Zbornika 3 / 2007 (Muzej primenjene umetnosti. Online)
SCULPTURES ON WOOD CARVED ICONOSTASES
It should be noted though that woodcarving of iconostases in more recent periods developed from the idea of plasticity and practice applied in treating their volume. Almost every craftsman who made altar walls in the 18th and 19th centuries would call himself a sculptor or bildahauer after the German word Bildhauer. A number of iconostases had not been executed in wood but in plaster or even in metal. Long lasting reduction of visual expressions to biomorphic motifs resulted from their theological symbolism and liturgical meaning as is found in icons. This changes the previous wrong belief that conservatism of the Church was the reason for the actually non-existing break in the millennium long history of Serbian sculpture.
TEORIJSKI OKVIRI ZA PROUČAVANJE
YUGOSLAV SPORT AVIATION POSTERS (1950-2000) FROM THE COLLECTION OF THE AERONAUTICS MUSEUM IN BELGRADE
THEORETICAL STUDY FRAMEWORK
TRI VRSTE KVALITETA : O VREDNOSNIM SUDOVIMA U MODERNISTIČKOJ, KONCEPTUALNOJ I SAVREMENOJ (DRUŠTVENOPOLITIČKOJ) UMETNOSTI
If the quality issue is relevant – as it is supposed to be – it is up to discourse analysis to extrapolate the quality arguments from the “speech acts” of artists, curators and critics. It should be possible to verbalize the silent quality discourses, which, as a hypothesis, are estimated to be typical for, and each different from one other, at least in (high) modernistic, conceptual and contemporary art, which seem to rely more and more on sociopolitical themes and content. If a modernistic and a conceptual set of “quality arguments” can be defined, what would their equivalent be in the context of sociopolitical art and art criticism?
Ako se vrši ocenjivanje, na čemu se zasniva to ocenjivanje? U ovom radu pokušavamo da istražimo pomeranje sa argumenata – koji ukazuju, uglavnom, na vizuelne odlike umetničkog dela kao bitnog elemeta za donošenje vrednosnog suda – na argumente koji su u većoj meri konceptualni, a zatim i na one sociopolitičke prirode.
«Argumenti kvaliteta» korišćeni u raznim periodima mogu se izlučiti iz kritičkih rasprava o umetnosti u svakom periodu. Početna pretpostavka je da se može utvrditi bar modernistički, konceptualni i etički skup argumenata. Etos modernizma (najpotpunije predstavljen apstrakcijom) stavlja vizuelno i estetičko iskustvo na prvo mesto. Konceptualna faza pomerila je osnove procene na kritičko (i konceptualno) promišljanje uključeno u produkciju i interpretaciju umetnosti, ali i na same okvire umetnosti.
Kakvu vrstu rasprave o kvalitetu možemo otkriti iza savremene (društvenopolitičke) umetnosti? Možda će biti potrebno da uključimo etičke, moralne i političke faktore u kriterijume kvaliteta. Kako bi izgledalo jedno «etički prelepo» umetničko delo? U kojoj meri se «zastareli» argumenti, korišćeni u različitim umetničkim strategijama, još uvek mogu koristiti kao «argumenti kvaliteta»?
CREATIVE EDUCATION IN MUSEUM ENVIRONMENT : EDUCATIVE PROGRAMMES AND WORKSHOPS IN THE MUSEUM OF APPLIED ART (2002-2007)
Having in mind authenticity of an artistic exhibit as object and document used in teaching work with primary schools children was focused on experimental learning and creative thinking.
The atmosphere of a museum study exhibition as exclusive space sustained the enriching the sources of teaching. Diversified, professional explanations our curators provided as well as active communication with children and later having them answer questionnaires by ticking right answers made exhibition perceptions richer and more profound. Creative activities in the Visual Arts Workshop offered every participant opportunity to gain direct artistic experience.
The traditional annual exhibition Children's October Salon was assorted in the past five years with programmes and workshops for talented children, young public and children with special needs thus helping them to broaden their knowledge and develop their creative abilities in the Museum.
There were two workshops organized within the frames of the most important annual exhibition of the Museum, i.e. the study exhibition The Pirot Kilim by Milena Vitković–Žikić as the author in 2002 and the study exhibition The Impossible – The Art of Surrealism by Milanka Todić, Ph D in 2003. The workshops provided opportunity for the young to gain deeper insight in authentic achievements of Pirot kilim craft, traditional art branch which bloomed in the 19th century but also to learn more about surrealistic art, its unstandardized themes and techniques and to avail themselves of the works exhibited in the Museum. Programmes “Town in Art” and “Pinocchio at the exhibition Trace in Wood” enrich the school teaching methods through actual experiencing cultural heritage. Relations between the town setting and local history arouse eagerness to know more about the past while European styles in national architecture and art establish connections with global culture. Programmes which use dramatic forms, music, film techniques along with classical museum methods offer to a young visitor a richer and deeper sensation and experience.
ADRIATIC CERAMICS SISTEM