Relevant bibliographies by topics / Archipenko

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Academic literature on the topic 'Archipenko'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Archipenko"

1

Latifić, Amra. "Contextualisation of optico-plastic: The effects of Alexander Archipenko and Ljubomir Micić's cooperation." Zbornik Akademije umetnosti, no. 9 (2021): 79–90. http://dx.doi.org/10.5937/zbaku2109079l.

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One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.
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Jánszky Michaelsen, Katherine. "Frances Archipenko Gray. My Life with Alexander Archipenko." East/West: Journal of Ukrainian Studies 2, no. 2 (2015): 141. http://dx.doi.org/10.21226/t2hs32.

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<p><strong>Frances Archipenko Gray. <em>My Life with Alexander Archipenko.</em></strong><em> </em>Munich: Hirmer Publishers, distributed by The University of Chicago Press, 2014. 280 pp. Illustrations. Notes. $24.95, cloth.</p>
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Klymenko, M. "Alexander Archipenko: Artistic and Aesthetic Principles of the European Avant-garde Epoch." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (2021): 69–76. http://dx.doi.org/10.33625/visnik2021.01.069.

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The paradigm formation of Alexander Archipenko’s art (1887–1964) in the context of the European avant-garde was analyzed in the article. The study examined the historiography of the 20th century artistic movement from Cubism, Futurism to Expressionism. The author analyzed the sculptor’s conceptual connection with innovations of the period and underlined the main philo-sophical principles of the epoch, and their impact on the formation of the artist’s figurative plastic concepts. The focus was made on the accumulation of the universal cultural experience of the European avant-garde in the process of Alexander Archipenko’s personality formation. The social and cultural factors of the sculptor’s personality formation were traced. The sculptor’s phenomenon is inseparable from the conglomeration of the European avant-garde thoughts. The sublimity of the intellectual resource development of the period was the driving force in the formation of Alexander Archipenko’s innovation. The author of the present study analyzed the main cultural and artistic groups of the epoch, and revealed Archipenko’s direct participation in them. Archipenko, the inventor of the experimental space, showed the way to sculptors of the 20th century. The sculptor’s philosophic line was projected into multicultural and anthropological dimension. The consolidation of general experience of the existence is embodied in the sculptor’s seeking strategies. Archipenko’s methodology development passed through the multicultural synthesis of the world’s ancient experience. There was a certain inspiration by mythological, ritual and historical prototypes as well. The artist’s semantic field had the only basis where new variations of the form and content arose from. The synthesis of artistic, aesthetic and philosophical principles of European avant-garde in Alexander Archipenko’s art contributed to the formation of the ethno-national basis of his art.
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Withee, Jane S. "ARCHIPENKO: SCULPTURE, DRAWINGS, AND PRINTS, 1908 – 1963. Donald Karshan." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 141. http://dx.doi.org/10.1086/adx.5.3.27947643.

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Chueca Izquierdo, Belén. "Orígenes de la abstracción en España: el Grupo Pórtico de Zaragoza (1947-1952)." Boletín de Arte, no. 22 (February 1, 2021): 409–35. http://dx.doi.org/10.24310/bolarte.2001.vi22.11804.

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El presente articulo pretende ofrecer al lector una aproximación a la trayectoria del grupo Pórtico de Zaragoza, con la finalidad de dar a conocer la importancia del mismo en el origen de la abstracción española. El grupo Pórtico estuvo formado por Santiago Lagunas Mayandía, Fermín Aguayo Benedicte y Eloy Giménez Laguardia. Estos tres artistas en el periodo de 1947 a 1952 desarrollaron una plástica que partió de los principios de la vanguardia europea, y de artistas como Picasso, Gris, Archipenko, Braque, Miró y Klee entre otros, y les llevó hacia unos caminos personales dentro de la no figuración haciéndoles así pioneros de esta práctica en España. La crítica centralista de nuestro país hizo que cayeran en el olvido y llevó la atención a otros grupos que se manifestaron abstractos años más tarde.
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Doig, Allan. "De Stijl and Russian Art: Alexandre Archipenko, El Lissitzky, Theo van Doesburg; Cubism, Proun, Elementarism." Actual Problems of Theory and History of Art 6 (2016): 606–13. http://dx.doi.org/10.18688/aa166-8-65.

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Caratănase, Răzvan-Constantin, and Răzvan-Petrişor Dragoş. "Particularity and Proliferation of Stroboscopic Elements in the Visual, Performing and Cinematographic Arts." Theatrical Colloquia 10, no. 1 (2020): 135–46. http://dx.doi.org/10.2478/tco-2020-0009.

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AbstractIn the work “Art and Visual Perception. A Psychology of the Author’s Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: “It is unlikely that any stroboscopic “short-circuit” will occur as long as objects appear on the screen at a sufficient distance from each other.” An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): “In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single “moment” in the sequence of moments that make up a movement; all other “moments” before and beyond the fixed movement are left to the imagination and fantasy of the spectator.”
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Petrova, Olga. "Open Form, Its Psychological, Civilizational, and Aesthetic Foundations in the Works of Modern Ukrainian Artists." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 156–60. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306925.

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The paper presents the concept of an “open work” (according to the idea of Umberto Eco) as a meaningfully undefined, and even non-finito work, which appeared in the artistic practice of the 20th century, at the time of revolutionary and military disasters. The events of the early 20th century in the social, psychological, and artistic consciousness of the leading avant-garde figures caused emotional and psychological shifts and contributed to the emergence of new ways of artistic expression. In art, works with different vector characteristics emerged: palimpsest, simulacrum, deconstruction, etc. Since then, the nature of general development of art became that of a rhizome. Similar principles of artistic thinking were predicted by H. Wölfflin in art (19th century) and in the aesthetics by A. Schopenhauer, F. Nietzsche, A. Bergson, and other philosophers of the early 20th century. The aesthetic concept of an “open work” and its special poetics reoriented the European art critics’ opinions regarding the analysis of modern artistic practice. Art studies focused on the artistic form in the very process of its formation (incompleteness). The process of forming an artistic work became the subject of meticulous analysis as something that is interesting to the modern viewer, who is a “synergistic person.” In the context of the poetics of an “open work,” the paper highlights the significance of the avant-garde discoveries of Oleksandr Arkhipenko as a pioneer of world modern sculpture. The connection of his philosophical and plastic thinking with dynamic social and scientific shifts in the life of mankind, with the “physics of space” of Albert Einstein, is visualized. The revolutionary role of caesuras (voids) in the volumes of Archipenko sculpture is defined. Under the angle of the concept of an “open work,” the article visualizes new forms of dialogue between modernists of the 21st century, in particular, Ukrainian artists and their recipients. The analysis of the works of modern Ukrainian artists (O. Zhyvotkov, O. Dzhuraeva, I. Grechanyk) illustrates the practical use of an “open form” as a modern practice in the time of psychological tension and uncertainty, in the state of stressful situations of the 2022–2024 war in Ukraine. “Staying before nothingness” (K. Jaspers’s expression), life on the threshold of existence caused irrationalism and “poetics of incompleteness” in the works of the mentioned artists. It was important to determine such a substantial characteristic of the work as ambiguity in its perception and reading. The paper reveals the psychological and plastic foundations of the authors’ artistic thinking when producing an “open work.” The productivity of a certain artistic paradigm is proven.
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Klymenko, Mariya S. "Archetypes in Alexander Archipenko’s Art." Зборник Матице српске за ликовне уметности 2021, no. 49 (2021): 239–44. http://dx.doi.org/10.18485/ms_zmslu.2021.49.13.

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Klymenko, Mariya. "ALEXANDER ARCHIPENKO’S HERITAGE: THE SHAPE-FORMING DOCTRINE." Knowledge, Education, Law, Management 1, no. 1 (2021): 56–61. http://dx.doi.org/10.51647/kelm.2021.1.1.11.

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Dissertations / Theses on the topic "Archipenko"

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Barth, Anette. "Alexander Archipenkos plastisches Oeuvre /." Frankfurt am Main ; Berlin ; Bern [etc.] : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb375300433.

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Calhoun, Robert D. "Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460755467.

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Cicali, Ilaria. "Alexander Archipenko (1909-1914) : une oeuvre au carrefour des expériences de la sculpture moderne." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100094.

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Dès son arrivée à Paris en 1909, jusqu’au déclanchement de la guerre en 1914, Alexander Archipenko réalise environs cinquante sculptures, qu’il présente lors des salons des Indépendants et d’Automne, à l’occasion des manifestations cubistes, ainsi que dans deux expositions personnelles organisées en Allemagne, à Hagen et Berlin. Son nom apparaît souvent dans les comptes-rendus des salons publiés dans la presse de l’époque. Indiqué à la fois comme ‘sculpteur cubiste’ ou ‘novateur élégant’ (à savoir, à l’esprit décoratif), il participe avec son travail à ce croisement de chemins qui caractérise, au début du XXe siècle, le développement de la sculpture moderne. Cependant seulement une partie de cette production majeure est aujourd’hui connue, plusieurs œuvres ayant été dispersées ou retravaillées au cours du temps. Le but de la thèse a été celui de reconstituer ce corpus dans son état d’origine ainsi que son parcours d’exposition, afin de replacer l’œuvre d’Archipenko à l’intérieur de la scène artistique parisienne de l’avant-guerre pour la faire dialoguer avec celle de ses collègues, peintres et sculpteurs. Cela a été possible par le biais d’une analyse formelle pointue et d’un travail croisé sur la presse et les catalogues d’exposition de l’époque, et grâce au dépouillement de plusieurs fonds d’archives. Parmi lesquels, celui de la revue « Der Sturm » (Staatsbibliothek, Berlin), ainsi que les archives de la Archipenko Foundation (Bearsville, NY), et les Archives of American Art (Smithsonian Institution, Washington, D.C.). Il en sort le portrait d’un artiste qui, avec sa recherche, a pleinement embrassé l’esprit de découverte propre à son temps<br>Between his arrival in Paris in 1909, and the outbreak of World War I in 1914, Alexander Archipenko created nearly fifty sculptures, which he presented at the Salon des Indépendants, the Salon d’Automne, numerous cubist exhibitions, as well as two personal exhibitions organized in Germany (Hagen and Berlin). His name appeared often in the reviews of the Salons that were published in the press. Considered as both a ‘cubist sculptor’ and a ‘novateur élégant’ (in the decorative sense), Archipenko actively participated in both of these artistic currents, which together led to the development of modern sculpture. Despite his importance, only part of his artistic production from this period is generally known today, many of the works were lost or re-worked at a later date. The aim of this thesis is to reconstitute his corpus of work in its original state, as well as document his participation in expositions, in order to place Archipenko’s artwork within the Parisian antebellum artistic scene, and in doing so, create a context in which his work may be compared to that of other sculptors, colleagues, and painters of the epoch. This work is based upon an attentive formal analysis of these works, and thorough review of the exhibition catalogue of the period. And also, by the analysis of different archives, among which the “Der Strum” archives (Staatsbibliothek of Berlin), the Archipenko Foundation’s ones (Bearsville, NY) and those of American Art (Smithsonian Institution, Washington, D.C.). From this research emerges the portrait of an artist who fully embraced the spirit of discovery of his times
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CICALI, ILARIA. "L’opera di Archipenko, un artista nel contesto della scultura contemporanea- Archipenko, un oeuvre au Carrefour des expériences de la sculpture moderne." Doctoral thesis, 2013. http://hdl.handle.net/2158/823752.

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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.<br>Graduate
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Books on the topic "Archipenko"

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Ralph, Melcher, Elvers-Švamberk Kathrin, and Saarland-Museum Saarbrücken, eds. Alexander Archipenko. Stiftung Saarländischer Kulturbesitz, Saarlandmuseum, 2008.

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Helga, Schmoll gen Eisenwerth, and Heilmann Angela, eds. Alexander Archipenko. Moderne Galerie des Saarland-Museums, 1986.

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Keiser, Alexandra, writer of essay, Lodder, Christina, 1948- writer of essay, and Eykyn Maclean (Gallery), eds. Alexander Archipenko: Space encircled. Eykyn Maclean, 2018.

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M, Marter Joan, and Capasso Nicholas J, eds. Archipenko: Drawings, reliefs, and constructions. Bard College, Edith C. Blum Art Institute, 1985.

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Gray, Frances Archipenko. My life with Alexander Archipenko. Hirmer, 2014.

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Nehama, Guralnik, Archipenko Alexander 1887-1964, National Gallery of Art (U.S.), and Muzeʼon Tel Aviv, eds. Alexander Archipenko, a centennial tribute. National Gallery of Art, 1986.

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7

Karshan, Donald H. Archipenko: Themes and variations, 1908-1963. Museum of Arts and Sciences, 1989.

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8

Galleries, John Levy, and Jacques Barzun Collection (Columbia University. Libraries), eds. A. Archipenko, exhibition of new works. John Levy Galleries, 2010.

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Archipenko, Alexander. Archipenko: Sculpture, drawings, and prints, 1908-1963. Centre College, 1985.

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Archipenko, Alexander. Archipenko: Sculpture, drawings and prints, 1908-1963. Indiana University Press, 1985.

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Book chapters on the topic "Archipenko"

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Susak, Vita. "The Archipenko Brothers: Discussions about National Art." In State Construction and Art in East Central Europe, 1918–2018. Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-9.

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"2. Becoming Minor: Archipenko, Bergson, and Deterritorialization." In Foreign Modernism. University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442662018-005.

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