20世纪50年代罗马尼亚艺术家集体在国家社会主义艺术生产中的作用——国家委员会自下而上、务实的专业化

IF 0.2 2区 艺术学 0 ART
ARTMargins Pub Date : 2020-10-01 DOI:10.1162/artm_a_00271
Caterina Preda
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引用次数: 0

摘要

本文分析了20世纪50年代初罗马尼亚建立社会主义现实主义美术生产模式的集体基础。它讨论了“艺术家集体”(生产)与其他集体形式,如集体工作室和指导委员会的未研究案例。这是一项基于档案的社会主义政权文化制度主义研究,基于对未被充分探索的档案来源的分析,如罗马尼亚艺术家联盟(UAP)或艺术基金会(FP)的档案来源。通过对1951年成立的艺术家集体“进步艺术”和“Th.Aman”两个具体案例的研究,为罗马尼亚社会主义模式的建立提供了更多的背景。文章发现,国家假定的艺术定义认为艺术家是一个简单的刽子手,“艺术家集体”参与了消除艺术家的个性,这是新社会主义模式的目标之一。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions
This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.
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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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