[ES] La talla es uno de los procesos escultóricos más antiguos. Se trata de una técnica sustractiva en la cual, partiendo de una masa sólida, se da forma a la materia mediante el corte, cincelado o abrasión. Este medio, que se popularizó en el pasado y fue preferido por artistas como Fidias, Miguel Ángel, Brancusi o Barbara Hepworth, implica un proceso lento y laborioso, un desarrollo pausado. Es, en este sentido, un quehacer disonante en el contexto social actual, cuyo modo de vida, rápido y agitado, no lo asumiría con naturalidad en el sistema artístico. Y su uso, en el arte de hoy, ha decaído hasta condicionarlo con la expresión "estar pasado de moda". Esta investigación analiza, desde aproximaciones cuantitativas y cualitativas, lo que se configura como un corpus documental para presentar una guía de artistas contemporáneos, cuyas poéticas siguen mostrando el protagonismo de este tipo de procedimiento escultórico. De este modo, intentamos argumentar razonadamente que no solo resiste al paso del tiempo, sino que ha logrado adaptarse a nuestro contexto creativo actual. / [CA] La talla és un dels processos escultòrics més antics. Es tracta d'una tècnica subtractiva en la qual, partint d'una massa sòlida, es forma la matèria mitjançant el tall, el cisellat o l'abrasió. Aquest mitjà, que es va popularitzar en el passat i que va ser el preferit d'artistes com Fídies, Miquel Àngel, Brancusi o Barbara Hepworth, implica un procés lent i laboriós, això és, un desenvolupament pausat. En aquest sentit, és una tasca dissonant en el context social actual, atés que, la manera de viure actual, ràpida i atrafegada, no ho assumiria amb naturalitat en el sistema artístic. A més, el seu ús, actualment, ha decaigut, fins al punt d'haver estat etiquetada com una tècnica "passada de moda". En aquesta investigació s'analitza, des d'aproximacions quantitatives i qualitatives, el que es configura com un corpus documental, per tal de presentar una guia d'artistes contemporanis, les poètiques dels quals segueixen mostrant el protagonisme d'aquest tipus de procediment escultòric. D'aquesta manera, intentem argumentar raonadament que aquesta tècnica no sols resisteix al pas del temps, sinó que ha aconseguit adaptar-se al context creatiu actual / [EN] Carving is one of the oldest sculptural processes. It is a subtractive technique through which starting from a solid mass the material is shaped by the cutting, the chiseling or the abrasion. This means, which became very popular in the past and which was preferred by artists such as Phidias, Michelangelo, Brancusi or Barbara Hepworth, involves both a slow and laborious process and also a measured development. According to this, it is a dissonant work in the contemporany social context, whose fast and hectic lifestyle would not assume it as a natural issue into the artistic system. Moreover, its use in today's art has declined such an extent that these days it is considered as"out of fashion". This research analyses what it is configurated as a documentary corpus from both qualitative and quantitative approaches, in order to introduce a guide of contemporary artists whose poetics go on showing the importance of this kind of sculpture technique. In this way, we are trying to argue thoughtfully that it has not only resisted the passage of time but it has also been able to adapt it to our current context. / Samo Terrasa, A. (2022). La talla en el mercado del arte en Europa Occidental. Una revisión de la actualidad (2018-2020) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189152

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

Art collection of Flemish and Dutch paintings collected by Vlastislav Zátka Dr. Vlastislav Zátka, a lawyer and businessman, was important in bringing together and organising a diverse art collection. This thesis discusses his approach to art, his perception of the artwork as well as the overlap with the Flemish and Dutch paintings in the collections of the Aleš South Bohemian Gallery in Hluboka , the National Gallery in Prague and private collectors of this circuit , but it also deals with the efforts of Vladislav Zátka to verify purchased art and to, then, include the expert's opinions. The focal point is the carefully charted correspondence of Vlastislav Zátka in the archives of the Aleš South Bohemian Gallery in Hluboka and its analysis. Keywords: Dutch and Flemish paintings Collecting Vlastislav Zatka Landscape painting Still life painting Maritime painting Maecenas / Benefactor Correspondence Art expert authentification Gallery / Art museum

Работа посвящена изучению творческого метода итальянского скульптора и художника Сандро Керки. Первая глава содержит обзор основных тенденции развития европейской и итальянской скульптуры в конце XIX – первой половине ХХ веков, а также факторов, повлиявших на становление современного искусства Италии. Вторая глава освещает основные этапы жизни и творчества Сандро Керки. Она включает в себя подробную биографию, анализ скульптурного наследия, а также анализ живописных и керамических работ, составляющих частную коллекцию. Сандро Керки был знаком со многими известными итальянскими скульпторами и художниками, принимал активное участие в художественной жизни страны. Его работы отражают творческие поиски и судьбу итальянских художников в ХХ веке. Они интересны своим новаторским, ярким индивидуальным стилем. Художника интересовала форма, скрытая в скульптурной материи или цвете, которую он выявлял при помощи линий и плоскостей. / Current study is devoted to the exploration of a creative method of the Italian sculptor and painter Sandro Kerki. The first chapter provides an overview of the main trends in development of European and Italian sculpture in the late the XIX - the first half of the XX centuries, as well as factors that influenced the emergence of modern art in Italy. The second chapter covers the main stages of life and work of Sandro Kirk. It includes a detailed biography, an analysis of the sculptural heritage, as well as analysis of paintings and ceramic works that make up the private collection. Sandro Kerky was familiar with many famous Italian sculptors and painters, took an active part in the artistic life of the country. His artworks reflect a creative search and a fate of Italian artists of the twentieth century. They are interesting for their innovative, vibrant personal style. Artist is interested in a form that is hidden in a sculptural material or color, which he brought out by means of lines and planes.

“Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text