Transmigrating Forms: Tadeusz Mysłowski as Cultural Mediator in Transatlantic Exchange
This article explores the work of Tadeusz Mysłowski, a Polish-American artist active in New York City since 1970, as a case of multidirectional transatlantic cultural exchange. A self-declared “transmigrant,” Mysłowski embodies the figure of the “cultural mediator,” a concept developed by Michael Cr...
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| Julkaisussa: | URI:https://journals.openedition.org/ejas, |
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| Päätekijä: | |
| Aineistotyyppi: | Article ou chapitre numérique |
| Kieli: | Anglais |
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European journal of American studies
2025
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| Aiheet: | |
| Linkit: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Yhteenveto: | This article explores the work of Tadeusz Mysłowski, a Polish-American artist active in New York City since 1970, as a case of multidirectional transatlantic cultural exchange. A self-declared “transmigrant,” Mysłowski embodies the figure of the “cultural mediator,” a concept developed by Michael Cronin and Sherry Simon to describe how individuals translate, reframe, and adapt cultural codes across linguistic and spatial boundaries. His art engages with both the legacy of the European avant-garde—especially constructivism and geometric abstraction—and the American movements of minimalism and conceptualism he encountered after his arrival in the U.S. Unlike earlier European émigrés who quickly assimilated into the American art world, Mysłowski entered as an outsider, navigating New York through visual means rather than language. His early projects—particularly those centered on the city’s gridded layout—translate the urban environment into layered visual compositions that reflect not only aesthetic hybridity and spatial practice but also the material and mnemonic dimensions of lived experience. This adaptive/translational approach aligns with Michel de Certeau’s notion of spatial practice and offers a counterpoint to dominant narratives of American cultural export. Mysłowski’s work reveals how European visual traditions can act on and reshape American cultural forms, complicating Cold War-era assumptions of one-way influence. As both recipient and reframer of transatlantic currents, Mysłowski exemplifies the subtle, ongoing work of cultural mediation that defines the global, post–Cold War artistic landscape. |
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