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Journal articles on the topic 'Art, Japanese Avant-garde (Aesthetics)'

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Published: 4 June 2021
Last updated: 14 February 2022

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1

Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.

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Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.
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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.

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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transf
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3

Taroutina, Maria. "Between East and West." Experiment 23, no. 1 (2017): 66–79. http://dx.doi.org/10.1163/2211730x-12341301.

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Abstract Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Eg
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박상우. "Avant-garde Art and Moholy-Nagy’s Media Aesthetics." Journal of History of Modern Art ll, no. 36 (2014): 153–81. http://dx.doi.org/10.17057/kahoma.2014..36.006.

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Tratnik, Polona. "Aesthetics of Art and Life Sciences: Collaborations and Resistance." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 11. http://dx.doi.org/10.25038/am.v0i20.329.

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In this paper, the author pays attention to the actual phenomenon of art and life science collaborative projects. She discusses the orientation of this project towards the world. In the course of modernity, the fields of art and science have been established as relatively autonomous fields with canonized methods and objectives. The author will compare scientific and artistic activities and address the question of their objectives. If art and science strive for different objectives, are these art and science projects about harmonizing them, or what is the objective that art follows and perhaps
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Nowicka, Daria. "Awangarda panoramicznie." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 305–17. http://dx.doi.org/10.14746/pss.2020.18.19.

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The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.
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Mitsuyama-Wdowiak, Kiyoko. "Shinro Ohtake and Post-war Japanese Avant-garde Art." World Art 5, no. 1 (2015): 117–42. http://dx.doi.org/10.1080/21500894.2015.1064023.

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8

Bru, Ricard. "Marià Fortuny and Japanese Art." Journal of Japonisme 1, no. 2 (2016): 155–85. http://dx.doi.org/10.1163/24054992-00012p01.

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Marià Fortuny, a painter in the forefront of the European avant-garde of the early 1870s, is also considered a key figure in the introduction of Japonisme in Spain and Italy. This study aims to offer a comprehensive analysis of Marià Fortuny’s links to Japanese art and the phenomenon of Japonisme. To this end, the article provides new information about Fortuny’s collection of Japanese art and considers the influence that these pieces had on the Catalan painter’s own work.
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Blasko, Andrew M. "The Politics of Aesthetics." Public Voices 9, no. 1 (2017): 86. http://dx.doi.org/10.22140/pv.205.

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An examination of the role that art and aesthetic activity have played in the affairs of state can be useful in shaping a framework for a discussion of the more specific issue of the interrelations between music and political life. The following discussion focuses on the manner in which the Russian avant-garde aesthetic movement gradually coalesced with the centrally planned construction of Soviet-style society in the efforts to build a new way of life and a new type of human being in accordance with the developing practice of the Communist-led revolution.
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.

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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, whi
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Belobratov, Alexander V. "Art nouveau period: borders and concepts." Semiotic studies 1, no. 1 (2021): 33–41. http://dx.doi.org/10.18287/2782-2966-2021-1-1-33-41.

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The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of
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Симеонова-Конах, Галя. "Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век". Poznańskie Studia Slawistyczne, № 18 (28 квітня 2020): 209–22. http://dx.doi.org/10.14746/pss.2020.18.12.

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The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgari
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Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, no. 80 (2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.

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This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only
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Jin-Ho Shim. "Walt Whitman’s Aesthetics of Ugliness: Focusing on the Correlation with Avant-garde Art." New Korean Journal of English Lnaguage & Literature 60, no. 1 (2018): 37–56. http://dx.doi.org/10.25151/nkje.2018.60.1.003.

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Zich, Otakar, Emil Volek, and Andrés Pérez-Simón. "The Theatrical Illusion." PMLA/Publications of the Modern Language Association of America 134, no. 2 (2019): 351–58. http://dx.doi.org/10.1632/pmla.2019.134.2.351.

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Otakar Zich (1879–1934) is a striking figure in modern czech aesthetics and art theory. A gifted librettist and opera composer and a professor at Charles University in Prague, his place in the history of aesthetics is still controversial. His Aesthetics of Dramatic Art (Estetika dramatického umění [1931]) came out at a time of paradigmatic change in the humanities (the emergence in the 1930s of functional structuralism through the Prague linguistic circle). Also, it was only in the 1930s that the Czech theatrical avant-garde got into full swing. Zich's work apparently “fell short” both of the
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16

Kogler, Susanne. "Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern." Musicological Annual 43, no. 2 (2007): 287–303. http://dx.doi.org/10.4312/mz.43.2.287-303.

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That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or
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Sokolova, O. V. "War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)." Critique and Semiotics 37, no. 2 (2019): 229–48. http://dx.doi.org/10.25205/2307-1737-2019-2-229-248.

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The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and
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Puncer, Mojca. "Advanced Constructivism and Postgravity Art: Theoretical and Philosophical Implications." Leonardo 51, no. 5 (2018): 475–81. http://dx.doi.org/10.1162/leon_a_01383.

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This article discusses art’s potential in outer space through a dialogue between European and Russian avant-garde traditions, and the postgravity art project by Dragan Živadinov, Dunja Zupančič and Miha Turšič. They enact a 50-year theater performance, Noordung:: 1995–2045, with the help of high tech, Suprematism and Constructivism. The performance is based on five replays every 10 years with the same actors and on technological substitutes of the deceased. The project has several topical theoretical implications. The author explores its key philosophical aspects and presents new potentialitie
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Šuvaković, Miško. "What happened to aesthetics and art over the last 100 years?: Contradictions and antagonisms: Theory wars!" SAJ - Serbian Architectural Journal 11, no. 2 (2019): 235–46. http://dx.doi.org/10.5937/saj1902235q.

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The subject of my paper is the dynamic and transformational relations between aesthetics and art from 1919 to 2019. The first problem to be discussed will be the relationship between art and politics at the Bauhaus and art institutes of the Soviet avant-garde. Next, I will point to differences in Marxist concepts of socialist realism and critical theory on modern culture and art. I will analyse the relationship between the concept of the autonomy of art, especially painting and minimal art. A comparison will be derived between anti-art (Dada, NEO-Dada) and anti-philosophy (Friedrich Nietzsche,
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20

Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics." Deleuze Studies 6, no. 2 (2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal
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Refsum, Christian. "The aesthetics of falling: Contingency in avant-garde art from Charles Baudelaire to Lars von Trier." Empedocles: European Journal for the Philosophy of Communication 2, no. 1 (2011): 79–94. http://dx.doi.org/10.1386/ejpc.2.1.79_1.

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22

Vanel, Herve. "John Cage's Muzak-Plus: The Fu(rni)ture of Music." Representations 102, no. 1 (2008): 94–128. http://dx.doi.org/10.1525/rep.2008.102.1.94.

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This article investigates the relationships between Muzak and the work of the avant-garde composer John Cage as one of the many unexplored links between the most advanced artistic endeavors and the aesthetics of the commercial and corporate environment. It suggests that the difference between the art of Cage ("Muzak-Plus") and the commercial music by the Muzak Corporation lies less in what superficially distinguishes them than in their common attempt to affect and shape society by the means of an aesthetic product designed to dissolve into life itself.
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Glebova, Aglaya. "Elements of Photography." Representations 142, no. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.

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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of forma
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Jiménez, Mijael. "La politización de la estética y la dialéctica del arte moderno en el pensamiento de Walter Benjamin." Theoría. Revista del Colegio de Filosofía, no. 28 (December 3, 2015): 49–69. http://dx.doi.org/10.22201/ffyl.16656415p.2015.28.472.

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The purpose of this paper is to understand the place of the theses of Walter Benjamin on the mechanically reproducible work of art in his critical project of politicizing aesthetics. We analyse the characteristics of art produced in industrial societies in order to comprehend its social function during the processes of political organization in totalitarian States and in the critical or revolutionary thought. We propose a particular interpretation of Benjamin’s theory of aura to identify a form of experience that remains in the reception of modern artwork, which help us explain the political o
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Rosl
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Balit, Daniele. "From Ear to Site: On Discreet Sound." Leonardo Music Journal 23 (December 2013): 59–63. http://dx.doi.org/10.1162/lmj_a_00156.

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The notion of discreet sound arises through the encounter of the sonic avant-garde with the post-studio methods of the field of sculpture: a distinctive, situational aesthetics that aspires to relocate, and sometimes to disperse, the listening experience within the varied spaces of everyday life. In sound art, however, there seems a predominant interest in the sounding object as an experience delivered to the audience through indoor modalities. By comparing these two tendencies, this article observes some of the implications for the ways in which we think about the site and modes specific to l
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Dedić, Nikola. "The notion and meaning of interdisciplinarity in the studies of art and media." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 196–211. http://dx.doi.org/10.5937/saj1202196d.

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This text attempts to mark the difference between traditional, modern, monodisciplinary and contemporary interdisciplinary approaches within the analysis of reception of media and artistic contents. Monodisciplinary approaches are connected with the classical basis of humanistic and social sciences which are related to the definition of culture based on opposition between mass and elite culture (art). Avant-garde and linguistic turn within social sciences in the 60s realized re-evaluation of the notion of culture-culture is not seen anymore as a sum of elite products of human spirit but rather
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Moskalov, Dmytro, and Anastasiia Yozhykova. "Japanese tradition and Western innovation in the work of Nakahara Chūya." Synopsis: Text Context Media 27, no. 2 (2021): 105–12. http://dx.doi.org/10.28925/2311-259x.2021.2.9.

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The subject of the study is the poetics of the Japanese poet Nakahara Chūya. The relevance of the study is due to the fact that there is very little research on the poet’s oeuvre in general, and in Ukrainian Japanese studies there is none at all. And despite the fact that Nakahara Chūya is one of the key figures of the Japanese avant-garde in the early twentieth century, there is no edition of translations into Ukrainian, just as there is not a single publication in Russian, except for a few amateur translations on the Internet. The novelty is due to an attempt to fill the gap and to present a
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Fensham, Rachel. "“Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity." Dance Research Journal 45, no. 1 (2012): 41–63. http://dx.doi.org/10.1017/s0149767712000253.

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The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these proces
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Ulfstjerne, Michael Alexander. "The Wasteland of Creative Production: A Case Study of Contemporary Chinese Art." Copenhagen Journal of Asian Studies 29, no. 1 (2013): 17–38. http://dx.doi.org/10.22439/cjas.v29i1.4019.

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With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are burgeoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valuated in the art communities that thrive on the recent international recognition of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of a
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Rejniak-Majewska, Agnieszka. "Poręczne obrazy, wymowne przedmioty. Retoryka rzeczowości w „L'Esprit Nouveau” Ozenfanta i Le Corbusiera." Artium Quaestiones, no. 29 (May 7, 2019): 91–119. http://dx.doi.org/10.14746/aq.2018.29.4.

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The paper is an attempt to draw the reader’s attention to visual reproduction as an element of modern artistic discourses and a medium of the mediated reception of art. An instrumental approach to reproduction as a neutral and ancillary vehicle of meaning, prevalent in the age of modernism, corresponded to the belief in its information efficacy and ability to overcome material, physical limitations. What mattered most were not the material, physical aspects of the existence and circulation of images, even though the avant-garde artists of the 1920s, using contemporary technology, were aware ho
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Johansson, Anders E. "UNCONTROL ON RUBEN ÖSTLUND’S FORCE MAJEURE." Nordic Journal of Aesthetics 27, no. 55-56 (2018): 149–64. http://dx.doi.org/10.7146/nja.v27i55-56.110754.

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 Ruben Östlund’s film Force Majeure (2014) was mostly received as a depiction of the crisis of masculinity. And it is, but that particular theme is also placed within a larger context concerning questions of value, understanding, order, and control, questions asked not only on a thematic level but also through cutting, framing, and the use of camera views. Not accepting any simple dichotomy between form and meaning, Force Majeure places itself firmly in an avant- garde and modernist tradition.
 Thereby the film is also related to this tradition’s ambition of investiga
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Nguyen, Fryderyk. "Sequelizm jako strategia twórcza współczesnej muzyki popularnej." Literatura i Kultura Popularna 25 (July 28, 2020): 511–26. http://dx.doi.org/10.19195/0867-7441.25.29.

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The term Sequelism defines the strategy of creating the second and subsequent parts of a piece of art. The article is an attempt to apply this category to contemporary popular music. In releases from the 21st century there is a noticeable tendency to continue aesthetics taken from the nearest past. One of the musical manifestations of sequelism is hauntology, connected with the philosophic-al idea of Jacques Derrida. Firstly, it had been present in avant-garde trends, and then adapted to the mainstream in recent years. The best example is Lana Del Rey’s album Born to Die, which shows that sequ
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LEWIS, GEORGE E. "The Virtual Discourses of Pamela Z." Journal of the Society for American Music 1, no. 1 (2007): 57–77. http://dx.doi.org/10.1017/s1752196307070034.

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Pamela Z is an American composer-performer and audio artist whose use of extended vocal technique and live, body-controlled electronic processing takes place in events ranging in scale from solo events in galleries to large-scale works that combine video, audio, and live musicians, singers, and actors. Her work raises important issues regarding transnationalism, Afrodiasporicism, and identity; acoustic ecologies; the articulation of race and ethnicity; and the place of women in technological media. The essay discusses several of Z's works from the late 1990s and early 2000s, in articulation wi
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Trifunovic, Branislava. "Fin-de-siccle in Russia: Politics and culture." Zbornik Matice srpske za drustvene nauke, no. 174 (2020): 185–206. http://dx.doi.org/10.2298/zmsdn2074185t.

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In this research paper, author discusses artistic responses to political turmoil from 1850 to 1917. This period in the Russian Empire was marked by a gradual striving for a radical and total social transformation initiated by, sometimes even violent, social reactions to the existing autocratic form of government in the mid-19th century, and completed by the Great Russian Revolution of 1917. The article dwells upon historical problems of social and cultural transformations of the Russian society and highlights artistic contribution in strive for modernization. In exploring the mode of adaptatio
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Toman, Jindřich. "A Glossary of Catchwords of the Czech Avant-Garde: Conceptions of Aesthetics and the Changing Faces of Art, 1908–1958." Central Europe 13, no. 1-2 (2015): 117–18. http://dx.doi.org/10.1080/14790963.2015.1109965.

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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.

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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the l
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Ternova, Maryna. "The Theoretical Potential of the R. G. Collingwood’s Principles of Arts: the Experience of Modern Interpretation." Culturology Ideas, no. 16 (2'2019) (2019): 72–80. http://dx.doi.org/10.37627/2311-9489-16-2019-2.72-80.

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The article, based on R. G. Collingwood’s monograph Principles of Art (1938), reconstructs the theoretical space of the English humanities of the time. It shows that in his work, R. G. Collingwood, a well-known English neo-Hegelian philosopher and historian of science, substantiated the aesthetic-psychological concept of art, which proved to be in line with modern philosophical and aesthetic-psychological search for scientists. The article highlights the most promising clauses on the psychological essence of art, which should be considered in the logic of attribution of modern theoretical mode
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Wincencjusz-Patyna, Anita. "Ingrid Vang Nyman i Pippi Pończoszanka, czyli o Pippi – dziecięcej rebeliantce – i Pus – duńskiej artystce, która dokonała rewolucji w szwedzkiej książce dla dzieci." Studia Scandinavica 24, no. 4 (2020): 30–48. http://dx.doi.org/10.26881/ss.2020.24.02.

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This article focuses on Ingrid Vang Nyman’s illustrations to various books about Pippi Longstocking, written by Astrid Lindgren, ranging from novels through picturebooks to comics. The core of the paper is an analysis of the Danish artist’s style, her use of means of artistic expression, and her attitude towards avant-garde movements in Western art in the 1930s and 1940s. The text briefly covers Vang Nyman’s biography, and the influence of her Danish background, taking mainly the period of her studies at the Royal Academy of Fine Arts in Copenhagen into consideration. Analysis makes it possibl
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Vainshtein, Olga. "Fashioning the ‘Performance Man’: Costumes and contexts of Andrey Bartenev." Critical Studies in Men???s Fashion 6, no. 1 (2019): 13–36. http://dx.doi.org/10.1386/csmf_00003_1.

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The article is focused around the work of contemporary Russian artist Andrey Bartenev. Nicknamed the ‘Performance Man’ and the ‘Master of Installations’, Bartenev creates performances, installations, kinetic sculptures, theatrical and video art and flamboyant outfits for himself. The article argues that expressive aesthetics of Bartenev’s performances are connected to the culture of Russian avant-garde. The methodological frame of analysis includes the concept of Bakhtinian grotesque, demonstrating the liberating and subversive potential of carnivalesque culture. Special attention is given to
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MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the tradit
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Wasilewska, Diana. "Out of the mainstream. Henryk Weber – a Jewish art critic in interwar Cracow." Tekstualia 2, no. 57 (2019): 37–54. http://dx.doi.org/10.5604/01.3001.0013.3540.

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Henryk Weber, a painter and art critic of the interwar period, is today a completely, though inequitably, forgotten fi gure. He was mainly associated with the Jewish magazine „Nasz Wyraz” in which he ran a column devoted to the visual arts. He was particularly interested in the history of the artistic milieu of Cracow, including, though not exclusively, Jewish artists. As a painter he was close to the colorists, and in his reviews he turned out to be an insightful observer and interpreter, also open to the latest avant-garde art phenomena. His artistic concept grew out of the expressionist aes
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Januszewski, Wojciech Stanisław. "The Colors of the Ineffable—Jerzy Nowosielski’s Monumental Works as a Contemporary Search for Sacred Space." Arts 10, no. 4 (2021): 68. http://dx.doi.org/10.3390/arts10040068.

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The subject of this work is the monumental art of Jerzy Nowosielski (1923–2011), one of the most outstanding contemporary Polish painters, who combined modernity with the orthodox icon aesthetics. This work discusses the monumental realizations of Nowosielski, especially the architectural polychromes made by the artist in Catholic and Orthodox churches in Poland in the years 1950–1999. The aim of the inquiry is to present his work theoretically and place it in a broader artistic context. The research shows that Nowosielski’s monumental works results from a strongly defined artistic concept aim
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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concer
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Gürbüz, Temmuz Süreyya. "Punk aesthetics of Pedro Almodóvar’s Pepi, Luci, Bom: Self-reflexivity, subcultural formations and queer temporalities." Journal of European Popular Culture 11, no. 1 (2020): 37–51. http://dx.doi.org/10.1386/jepc_00011_1.

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Tracing the direct and indirect influences and cultural connections between earlier counter-cultures and avant-garde art has been a useful method to historicize the aesthetics that is created by subcultures. Drawing from this approach, this article seeks to contribute to the study of the aesthetics and counter-cultures via analysing a specific cinematic self-reflexivity that is born out of the interconnectedness of low-budget material conditions and the subcultural environments. The contention is that Pedro Almodóvar’s first feature film Pepi, Luci, Bom y otras chicas del montón (1980), embodi
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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art
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Ovadija, Mladen. "Artaud’s Hyeroglyphic Sign and Böhme’s Aesthetics of Atmosphere: The Semiotic Legacy of the Avant-Garde’s Recognition of the Materiality of Sound." Recherches sémiotiques 35, no. 2-3 (2018): 97–113. http://dx.doi.org/10.7202/1051070ar.

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Materiality of the sign/sound in theatre appears when various sensory materials remain on the side of the signifier, not trying to reach the signified but energetically pulsating from the stage instead. The semiotics of sound would benefit from exploring the process where the theatrical sign or sound is caught naked in its flight between deliverance and reception, not yet clothed in its signifying dress. Such a semiotics follows oral/aural signs becoming other signs in the area where the senses signify. I suggest that voice and stage sound/noise figure as catalysts of an intermedial flux betwe
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Babii, Nadiia. "Cultural and Art Magazines in Western Ukraine from the Underground to Alternative Press." Culturology Ideas, no. 18 (2'2020) (2020): 120–31. http://dx.doi.org/10.37627/2311-9489-18-2020-2.120-131.

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The article analyzes the phenomenon of alternative cultural and art magazines of Western Ukraine of the 80-90s of the XX century; based on the analysis of factual data, interviews with stakeholders, scientific discussions, it clarifies the role of the object in the interdisciplinary connections of the XXI-century cultural discourse. The research determined that western cultural and art magazines of the late twentieth century played an important role for countercultural communities that were formed outside the official creative unions and also became a part of the common cultural myth under the
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Shevtsova, Maria. "David Graver The Aesthetics of Disturbance: Anti-Art in Avant-Garde DramaAnn Arbor: University of Michigan Press, 1995. ISBN 0-472-10507-8." New Theatre Quarterly 13, no. 49 (1997): 94–95. http://dx.doi.org/10.1017/s0266464x00010915.

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Ong, Donna. "Liu Na'ou: The Fate of “Middling Modernity” and the Global Pure Film Movement in Republican-Era Shanghai." Film Quarterly 72, no. 2 (2018): 26–37. http://dx.doi.org/10.1525/fq.2018.72.2.26.

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The Pure Film movement to elevate cinema as an art form enjoyed a global following amongst commercial to avant-garde filmmakers and theorists during the interwar period. In East Asia, the influence of this vibrant discourse is perhaps best represented by the widely studied Japanese Pure Film movement, but little is known about its presence in China or the enigmatic figure Liu Na'ou who imported these discourses from the West, via Tokyo to Shanghai. Intended to improve the quality of Chinese films, these modernist film theories inevitably became embroiled in Liu's political campaign to protect
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