Academic literature on the topic 'Avant-garde (Aesthetics) Art criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Avant-garde (Aesthetics) Art criticism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Avant-garde (Aesthetics) Art criticism"
1
Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (February 2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.
Full textAbstract:
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.
2
Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.
Full textAbstract:
One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
3
Sifaki, Eirini, and Anastasia Stamou. "Film criticism and the legitimization of a New Wave in contemporary Greek cinema." Journal of Greek Media & Culture 6, no. 1 (April 1, 2020): 29–49. http://dx.doi.org/10.1386/jgmc_00002_1.
Full textAbstract:
Contemporary Greek cinema garnered a great reputation in recent years, including Oscar nominations, numerous awards and distinctions in international festivals and also worldwide media coverage. The emergence of a new group of filmmakers whose creativity and avant-garde aesthetics were stimulated and heightened by the social and economic crisis was first marked by media critics (film critics and cultural journalists). As journalistic art criticism plays a prominent role in the legitimization of cultural products and artistic genres, this article examines the way in which professional film critics and journalists, both in Greece and abroad, described, evaluated and labelled the ‘Greek New Wave’. In line with cultural evaluation theories, we conducted a content analysis of film criticism articles in order to explore how professionals have reviewed and deployed their arguments towards this new phenomenon. Our results indicate that film criticism decisively influenced the Greek New Wave’s shaping and legitimization in the film industry. Even though film critics and journalists hesitated to adhere to a specific name for this phenomenon in Greek cinema, their discourses and interpretations have been based on the films’ break with previous film practices and representations of Greek society and the paradox between a ‘collapsing country’ and a flourishing arthouse cinema.
4
Ternova, M. V. "CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 36–40. http://dx.doi.org/10.17721/ucs.2020.1(6).08.
Full textAbstract:
The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.
5
Shchetynskyi, O. "Composer’s Word." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 5–13. http://dx.doi.org/10.34064/khnum2-13.01.
Full textAbstract:
Background. During the last century composers show an increasing activity in the fi eld of a literature while writing texts that explain specifi c features of their musical works, their aesthetic, philosophy or attitude to certain cultural phenomena. Sometimes even an analytical essay produced by the composer may characterize the composer’s personality and his/her position in the art. In this aspect, the composer’s texts deliver a vast number of facts directly connected to the heart of aesthetic, social, psychological phenomena of a composer’s activity. In the article an ill-defi ned phenomenon of texts and speeches of a composer on his/her works and on music and art in general is analyzed. The objectives of the study are fi nding the connection between literal and musical works of the composer. The main source of the analysis of a composer’s personality should be musical works, because they contain the complete information about the author, and they may lead to construction of the author’s “portrait” in various aspects – psychological, historical, ideological, etc. Understanding the artistic personality through analysis of his/ her works, although being the most trustworthy method, sometimes is also the hardest, since the author not always manifests himself/herself directly while using various kinds of play-acting. That’s why the analysis of a composer’s speech as an additional fi eld, that refl ects the composer’s personality, may be effective. This method is applied to the published speeches and the interview of Valentyn Sylvestrov. Being applied to his “case”, this analytical instrument explains the reason of his critical speeches against avant-garde aesthetic and its typical adepts (Helmuth Lachenmann, Karlheinz Stockhausen and others). This critic does not mean the change of Sylvestrov’s position since his youth. Although he became known as an avant-gardist in the 1960s, even then – and his early interview (published in 1967) demonstrates this quite clearly – he declared his position which strongly differed from typical avant-garde ideas. His speeches of later time shows similar attitude of the composer to many musical problems, despite these speeches were made almost half a century after his early interview. They describe quite strange situation when the composer’s text, while saying almost nothing about the objects of its criticism, shows fi rst of all Sylvestrov’s own evolution from “soft” avant-garde of the early 1960s to the specifi c and extremely individual stylistics that combines radical and quasiconservative features. This combination in itself is quite unusual both in avant-garde and conventional styles, and proves lyrical nature of his artistic personality, as well as some favorite subjects typical of him both now and half century ago. Composer’s letters show the mental condition of the author in a certain period of his/her life and creative evolution. They give exact information on facts, events, dates, etc., so in this aspect they are irreplaceable. Certain words and a way of description used by an author – and also what he/she omits – directly shape the artist’s nature. It is important to take into account that we do not have to deal with absolute truth but subjective interpretation which may contain (apart the trustworthy details) exaggeration, misunderstanding and wrong conclusions. These very deviations add new features to the artistic “portrait” and may explain the reason this or that feature appears in a musical work. Analysis and even reading composer’s (and any other) letters raise some moral problems. Usually letters are addressed to a certain person or an institution and not intended to be seen by anybody else. We cannot know whether the author would be happy if he/she would know his/her letters are published. Only in the case of a publication during the author’s life this problem may be totally fi xed, as the author’s agreement to such publication seems to be mandatory. While artist’s letters are usually not intended for publication, an interview or dialogues of the artist with “authorized person”, as well as autobiography, an article or memoirs are always created for the public, so the “master” depicts himself in accordance with the way he/she wants the others see and treated him/her. While the literature knows classical example of this genre back from the early 19th century (we mean the wellknown Peter Eckermann’s Conversations with Goethe), the composers start to regularly produce similar texts much later in the 20th century. Despite the technical and aesthetical progress of the 20th century culture stimulated the musicians to create texts, they did not became the obligatory (sometimes because of personal reason). While almost all more or less known musicians gave an interview and created brief speeches on various occasion, just a part of them left the dialogues with extended explanation of the composer’s views on various problems and facts of the art and life. The model example of such texts are the Dialogues if Igor Stravinsky with Robert Craft. Later other outstanding musicians followed them, exactly Jannis Xenakis, Olivier Messiaen, Witold Lutoslawski, Alfred Schnittke and Edison Denisov among the mostly known. Another kind of the author’s word to be widely circulated is an author’s annotation or commentary to the piece. Such a commentary written for a concert leafl et or a festival (LP, CD) booklet is always expected by the recipients, so it plays an exceptional role in understanding the new work and may help to promote it or, in unlucky case, prevent its success. The results of the research prove the importance of the composer’s text for understanding his/her music. Although being a sort of paradox, such texts may show the shortest way to fi nd secret senses and codes of music. so we conclude the literal texts gradually become an integral part of the composer’s work and composer’s life.
6
Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
Full textAbstract:
Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.
7
Dorofieieva, O. Yu. "Activity of the T. Shevchenko Kharkov Theater in the coverage of theatrical criticism (the second half of the 1930s – 1940s)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 84–101. http://dx.doi.org/10.34064/khnum1-51.04.
Full textAbstract:
Background. In the Ukrainian art history, the problems of theatre criticism and the interrelations between criticism and stage art until remain insufficiently studied. The article considers the activities of the T. Shevchenko Kharkov Theatre (until 1935 – the Theatre «Berezil») in the second half of the 1930s–1940s in the coverage of theatre criticism. Since 1933, the aesthetic course of this theatre had changed dramatically from avant-garde searches to socialist realism in connection with the defeat of the position of Les Kurbas and his dismissal from the theatre. This reversal of the creative course of the theatre becomes a subject of reflection in theatre criticism, which during this period also experienced fundamental transformations both in genre-style and in ideological aspects. Thus, the article analyzes the development of theatre criticism in the context of artistic phenomena of the second half of the 1930s–1940s. Objectives and methodology of the research. The objective of this study is to analyze the difficult period of stylistic changes in the T. Shevchenko Kharkov Theatre in the second half of the 1930s–1940s, that was at the stage of formation of socialist realism in the Ukrainian art, from the viewpoint of theatre criticism of that time. System-historical and comparative-historical methods were used in the study. The results of the study. On the basis of the press reports on the activities of the T. Shevchenko Kharkov Theatre the most important features and tendencies inherent in theatrical criticism of this period have been derived. The article deals with editions, in which during the period under study the materials about the T. Shevchenko Theatre appeared most often. These are, in particular, Kharkov newspapers «Krasnoye Znamia», «Sotsialisticheskaya Kharkovshchina», Kiev editions «Sovetskoye Iskusstvo», «Sovetskaya Ukraina», «Kievskaya Pravda», «Pravda Ukrainy», «Literatura i Iskusstvo», «Komsomolskaya Ukraina», «Proletarskaya Pravda», «Literaturnaya Gazeta». The articles about the tour performances of the T. Shevchenko Kharkov Theatre were published in the editions of other cities, including the newspapers «Bugskaya Zarya» (Nikolaev), «Dnepropetrovskaya Pravda», «Zarya» (Dnepropetrovsk), «Bolshevistskaya Pravda» (Vinnitsa), «Lvovskaya Pravda», «Svobodnaya Ukraina» (Lviv), «Voroshilovgradskaya Pravda» (Luhansk), «Moskovskiy Bolshevik», «Komsomolskaya Pravda», «Trud» (Moscow). Since 1933 the theatre had its own edition – «Berezilets», which in 1935 got a new, ideologically correct name – «Za Sotsialisticheskiy Realizm» («For Socialist Realism»). The article outlines the circle of authors who practiced the theatre criticism professionally. It should be noted that the activities of the T. Shevchenko Kharkov Theatre at that time was often described by journalists who published the notices occasionally. Among those who analyzed the theatrical process systematically, the most attention deserve the following critics: V. Morskoy, L. Livshits, B. Milyavsky, V. Chagovets, Y. Shovkoplyas, G. Gelfandbein, A. Gozenpud, V. Gavrilenko, A. Kostrov, A. Lein, D. Zaslavsky, Ya. Gan, Y. Pavlovsky. The critical notices by writers V. Sukhodolsky, Yu. Martych and L. Dmiterko have been considered separately as examples of a rather original glance at the performances and presence in the text of an expressive author’s style. During this period, under the pressure of strict ideological control over the art, quite stable canons of compiling notices were formed and took root, almost not allowing a critic to display his individuality. Among the features peculiar for the theatre criticism there were the uniformity of the titles of articles simply stating the play name, an extremely rare manifestation of specific position of the author regarding the stage work and transition to the level of figurative or conceptual understanding. The main matter of the analysis was rather the performance content, its subject, but not the means by which it is embodied; more attention was paid to the literary source, and not to the performance. In the first part of the notice, the play subject was usually explained from the standpoint of party ideology, often using the quotes from Soviet leaders’ speeches. Usually in a notice, the close attention was paid to acting and the actors performing the main roles. This peculiarity reflects disclosure of the new facets of talent of a number of actors of the T. Shevchenko Kharkov Theatre of that period. It should be noted that actor’s individuality of I. Maryanenko, V. Chistyakova, M. Krushelnitsky, L. Serdyuk and others was displayed more powerful than in «Berezil». Giving priority to an actor in theatre criticism to a certain extent levelled the producer’s role. At that time, the palette of stage producer’s means should not was to be going beyond strict aesthetic requirements. It was necessary to remain in the stylistic framework of a life-like presentation, when a producer was fully focused on the actors, and M. Krushelnitsky, L. Dubovik, R. Cherkashin and others did it skilfully. The best examples of theatre criticism contained careful analysis of originality of their production. A notice briefly described the scenography and sometimes the composer’s work. The final part contained a laconic conclusion. On the one hand, such a scheme of compiling notices impoverished the critic’s possibilities, his freedom in expressing thoughts, and on the other hand, it set a clear structure for presenting the material. In this period, as it has been at all times, the performance notices remained the most popular genre of theatre criticism. Portraits of actors were printed occasionally. Interviews were rather rare (usually with a producer). Conclusions. Theatre criticism of the second half of the 1930s–1940s existed in strict limits dictated by ideological reasons, because of which it only partially elucidated the stylistic changes that took place in the T. Shevchenko Kharkov Theatre in this period. For an objective analysis of the activities of the theatre, it is necessary to address to a wide range of sources, in particular the recollections of the direct participants of the then theatrical process that were published later, in period of ideological “thaw”.
8
박상우. "Avant-garde Art and Moholy-Nagy’s Media Aesthetics." Journal of History of Modern Art ll, no. 36 (December 2014): 153–81. http://dx.doi.org/10.17057/kahoma.2014..36.006.
Full text
9
Kasten, Carey. "Avant-garde art and criticism in Francoist Spain." Journal of Spanish Cultural Studies 19, no. 3 (July 3, 2018): 389–91. http://dx.doi.org/10.1080/14636204.2018.1507692.
Full text
10
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.
Full textAbstract:
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 differs much from science? The author emphasizes a certain role of art, which art inherited from Romanticism. Comprehension of art as an avant-garde was extremely important for 19th-century art, particularly in France, where artists considered themselves the avant-garde of the society and also used militant rhetoric. Mallarmé, for instance, said that the modern poet is “at strike against the society”. This romantic attitude of the artists that position themselves rebelliously against the norms and cannons of the majority of population, insisted in the art throughout modernism and expressed particularly strongly in the historical avant-gardes. The author claims that exactly this heritage is crucial for the art that enters the field of science and is engaged with its socially-relevant aspects. The contemporary art projects entering the field of life sciences inherit the tradition of the avant-garde. The modes of collaborations and resistance will be addressed in the paper. Particular relevance will be given to the orientation of art towards the future. That is the comprehension of art as a political agent. Article received: June 12, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Review articleHow to cite this article: Tratnik, Polona. "Aesthetics of Art and Life Sciences: Collaborations and Resistance." AM Journal of Art and Media Studies 20 (2019): 11-16. doi: 10.25038/am.v0i20.329
Dissertations / Theses on the topic "Avant-garde (Aesthetics) Art criticism"
1
Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
Full textAbstract:
In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
2
Byers, Mark. "After the new failure of nerve : Charles Olson and American modernism, 1946-1951." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.
Full textAbstract:
One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.
3
Gao, Minglu. "The '85 Movement Avant-garde art in the post-Mao era /." online access from Digital dissertation consortium, 1999. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9960497.
Full text
4
Mao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.
Full textAbstract:
Thesis (M.A.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).
5
Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
6
Nicholls, Tracey. "It does too matter : aesthetic value(s), avant-garde art, and problems of theory choice." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100665.
Full textAbstract:
My dissertation is concerned with two central issues: analysis of theory-practice gaps in aesthetic theories applied to avant-garde musics, and problems of visibility and respect in theorizing across cultures. In the first chapter, I examine a case study, John Coltrane's successive improvisations on "My Favorite Things," under two different theories in order to show how theories shape our view of the practices we are trying to explain. In the second chapter, I take up Coltrane's practices and their relations to theories once again but, in a reversal of the previous chapter's focus, I show how examining theories through practices can reveal these theory-practice gaps and problematic assumptions. I move, from there, to an analysis, informed by feminist standpoint epistemology, of the extent to which political values influence our theory choices and thus help construct our metaphysical views. Out of this discussion, my third chapter argues that attempts to universalize a culturally-situated notion of 'the musical work' (one drawn from Western classical music) do violence to works and artists situated in other cultural traditions. Thus I construct an alternative view of the musical work that I call 'contextualized nominalism' which has the merit of being sensitive to these issues of cultural situation. The fourth chapter explores connections between avant-garde jazz practices and oppositional politics which can be made visible when performances of works are accorded priority over composition. Here I construct a performative notion of community which, in addition to making the most sense of improvisational musical practices, can also be the ground of an 'ethos of improvisation' extendable into other social contexts. Finally I turn to the need for a pluralistic framework in aesthetic evaluation of polycultural artistic processes and products, through a critical examination of universal notions of aesthetic value. I argue, from this and all of the preceding chapters, that where we cross cultures, or mix them, in aesthetic evaluations, we must do so as respectful pluralists and within a pluralist framework.
7
Otty, Lisa. "Signals and noise : art, literature and the avant-garde." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.
Full textAbstract:
One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.
8
Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.
Full textAbstract:
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "November 2004" Bibliography: leaves 118-128.
9
Mirza, Adam. "Action Aesthetics| Arendtian Inversions on Politics and Art in the Music of the Avant-Garde." Thesis, New York University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261772.
Full textAbstract:
This dissertation examines the aesthetics of the mid-20th century musical avant-garde from an Arendtian perspective. I focus on three musical figures: Glenn Gould, Karlheinz Stockhausen, and Helmut Lachenmann. Each of these figures worked through the legacy of musical structuralism by staging various encounters with aspects of musical performance. My reevaluation of these musical figures is oriented by a reading of the contemporaneous political theories of Hannah Arendt, as found in The Human Condition, On Revolution, and Between Past and Future, in particular. In these Cold War era texts, Arendt argues that human cultures are constituted through the exemplary actions of individuals, who risk their lives for the sake of communal principles, thereby imprinting these contestable societal norms upon public consciousness.
Arendt’s account of action, revolution and political judgment have much in common with a broader performative turn that was taking place in avant-garde artistic practices of the same time (c. 1950 – 1970). This turn resituated the ontology of the musical work from the notated page to the physical acts and technologies of sound production. Of deeper provenance, however, is the fact that Arendt’s political theories have an important basis in her appropriation of Kantian aesthetics. I argue that the Kantian inspired elisions of politics and art in her theory justifies re-mapping her political concepts onto art. I refer to these re-mappings as inversions to draw attention to the pivotal role that performance plays in Arendt’s theories, operating as a hinge between political and aesthetic categories. I do so also to ground a material history of the encounters with musical formalism that took place in the creative practices of my musical subjects. Thus my title, Action Aesthetics, refers to this attempt to re-infuse Arendt’s political theory of exemplary action into the modernist musical legacy of Kantian aesthetics.
10
Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
Full textAbstract:
This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
Books on the topic "Avant-garde (Aesthetics) Art criticism"
2
Maruja, Mallo, ed. Maruja Mallo and the Spanish avant-garde. Farnham, Surrey, England: Ashgate, 2010.
Find full text
3
Apollinaire on the edge: Modern art, popular culture, and the avant-garde. Amsterdam: Rodopi, 2010.
Find full text
4
Hawkins, Joan. Cutting edge: Art-horror and the horrific avant-garde. Minneapolis: University of Minnesota Press, 2000.
Find full text
5
Art attack: A short cultural history of the avant-garde. New York: Clarion Books, 1998.
Find full text
6
Moffitt, John F. Occultism in avant-garde art: The case of Joseph Beuys. Ann Arbor, Mich: UMI Research Press, 1988.
Find full text
7
Children of Marx and Coca-Cola: Chinese avant-garde art and independent cinema. Honolulu: University of Hawai'i Press, 2009.
Find full text
10
A l'avant-garde!: Art et politique dans les années 1960 et 1970. Bruxelles: PIE Peter Lang, 2013.
Find full textBook chapters on the topic "Avant-garde (Aesthetics) Art criticism"
1
Archambeau, Robert. "The Aesthetic Anxiety: Avant-Garde Poetics, Autonomous Aesthetics, and the Idea of Politics." In Art and Life in Aestheticism, 139–58. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583498_9.
Full text
2
Kieffer, Alexandra. "Wagnérisme and the Aesthetic of Sentiment." In Debussy's Critics, 23–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.003.0002.
Full textAbstract:
In the late 1880s, Édouard Dujardin’s Revue wagnérienne was a major contributor to early Symbolist discourse, reinterpreting Wagnerian aesthetics and Schopenhauerian metaphysics to support the innovations of forward-thinking French poets. Advancing this new Symbolist poetics, Dujardin, along with his friend and prolific contributor to the Revue wagnérienne Téodor de Wyzewa, proposed that music is an art of psychological “realism”—a claim that rested on a conception of human psychology drawn largely from British associationism and propounded in France (against the conservative academic tradition defined by Victor Cousin’s eclectic spiritualism) by Théodule Ribot. Consequently, the Revue wagnérienne became a point of contact between avant-garde music aesthetics and modern psychological notions of the self that were then gaining wide currency in France.
3
"Banality in Art Criticism. Comments on the Reception of Art in the German Daily Press of the 1920s." In Avant-Garde and Criticism, 177–93. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401203982_011.
Full text
4
"Art Criticism and Avant-Garde: André Lhote’s Written Works." In Avant-Garde and Criticism, 15–29. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401203982_003.
Full text
5
"German Art in The Netherlands before and after World War II." In Avant-Garde and Criticism, 157–75. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401203982_010.
Full text
6
"The Writing Artists of the Magazine Kroniek van Kunst en Kultuur (Chronicle of Art and Culture) in the Period 1935-1941." In Avant-Garde and Criticism, 337–61. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401203982_017.
Full text
7
"Breaking the Religious Image." In Breaking Resemblance, edited by Alena Alexandrova. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274475.003.0003.
Full textAbstract:
The chapter provides an overview of two tendencies in the transformation of the status of religious motifs in art starting with the painting of Caspar David Friedrich and ending with Expressionism. This period was characterised by a major shift in the mutual positioning of art and religion both institutionally and aesthetically. Church art became an increasingly problematic category at the end of the nineteenth and twentieth centuries, partly because the clergy objected to decorating churches with the unusual interpretation of religious iconography associated with modernist aesthetics. Considered from this perspective abstract art appeared as an acceptable alternative precisely as opposed to other images with unusual modernist interpretations. The absence of figurative images removes all controversies as to how religious subjects should be interpreted. Religious iconography had a continued presence within the work of numerous artists in the different movements of the historical avant-gardes. While the figurative references to religious motifs in most of the cases were quite critical in their tone (whether this was intended by the artist or not) and used as tools of criticism of the institutions of art and religion, abstract art became the medium for expression of a positive form of spirituality.
8
Harutyunyan, Angela. "The ‘painterly real’ of contemporary art." In The political aesthetics of the Armenian avant-garde. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526114389.00009.
Full text
9
Begam, Richard. "Rushdie and the Art of Modernism." In Modernism, Postcolonialism, and Globalism, 125–43. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0006.
Full textAbstract:
This chapter positions The Moor’s Last Sigh (1995)—the first full-fledged novel Salman Rushdie wrote following the 1989 fatwa—in relation to criticisms of modernism advanced not only by Ayatollah Khomeini but also by scholars such as Fredric Jameson and Edward Said. It is significant that the novel’s subject is modernism itself, represented by Aurora Zogoiby, whose work synthesizes virtually every avant-garde movement, from fauvism, surrealism, and Dadaism to cubism, expressionism, and abstractionism. In offering a history of twentieth-century art, Rushdie explores how modernism can retain its aesthetic autonomy while giving voice to its social and political commitments. The chapter concludes by examining two aspects of the novel that are usually considered postmodern: the figure of the palimpsest and Moraes’s accelerated aging. The former is associated with James Joyce and T. S. Eliot’s mythic method, while the latter—with its sense of accelerated temporality—functions as a metaphor for modernism itself.
10
Bryant, Jan. "Encounter Three: Art and the Socialist State." In Artmaking in the Age of Global Capitalism, 55–68. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456944.003.0008.
Full textAbstract:
This chapter traces the tactics used by the art Slovenian collective, Neue Slowenische Kunst (NSK), specifically the art section, Irwin and the music group, Laibach, to criticise the socialist state of Yugoslavia. The chapter offers a brief overview of the political climate at the time leading up to and during the Yugoslavian wars (1980s and ‘90s). Closely analysed is NSK’s use of ambiguity and parody to hold a mirror up to authoritarianism and Irwin’s appropriation of early Russian avant-garde motifs to criticise socialist-realism and the State’s ‘misuse’ of art. As protection against retaliation by the state, NSK never prescribed their intentions, so audiences and viewers needed to bring their own context and perspective to events. Once Slovenia left the Yugoslavian Federation to enter into free-market capitalism, NSKs tactics seemed far less potent, flowing neatly into a 1980s western art context (a moment in history) that embraced ambivalence and indeterminacy. As an approach that hides a work’s political intent, allowing its viewers to have their own political views affirmed, it is argued that such a tactic fails to shake the political aesthetic. [181]