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Dissertations / Theses on the topic 'Avant-garde (Aesthetics) Art criticism'
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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.
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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.
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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 Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
11
Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
12
Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
14
Kaya, Devrim. "A Research On The Possibility Of Distinguishing Kitsch And Art Using Philosophical Hermeneutics." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605433/index.pdf.
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This thesis tries to distinguish kitsch and art with the help of philosophical hermeneutics by reading it in the light of Derrida&rsquos interpretation of Hamlet in Specters of Marx. It defines kitsch as experience in order to go beyond both of the two main approaches, namely, the one that sees kitsch as an object and the one that reduces it to the behaviour of the subject. It tries to show that kitsch is not just an aesthetic problem, but also, a political one.
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Strugnell, James Paul. "Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10722.
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In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.
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Hutton-Williams, Francis Brent. "Irish cultural politics, Thomas McGreevy and the Avant-Garde, 1922-1941." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:c6fbe4ba-3908-4e45-a012-00fa766cd1eb.
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This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.
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Papadopoulos, Theokritos. "The aesthetics of waste : investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6470/.
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This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interpretation. Freud’s concept of the death drive provided my enquiry with a reflective methodology for addressing my own installation practice. I was able to combine this with reflection upon traumatic situations in Greek history, especially the Greek Civil War. As a result of completing the above procedure, I realised the importance of everyday ephemeral materials and archive footage in the creation of an object or installation to which artists attach their subjectivity in moments when society is in crisis. In my own installations using historical archives from Greek Civil War, through the method of cut and paste, I have tried to create new images reusing photographic archives laden with historical, social and political meaning. This action was my subjective way to deal with collective trauma and loss, to create my own version of Freud’s fort-da game by turning installations into a theatrical space in which this action was presented and communicated with the viewers. In addressing research through practice, connections between trauma, the use of heterogeneous materials and the development of the avant-garde movement, particularly in Greece, have become paramount. Despite the research undertaken by Greek academics on the Greek Civil War (1944–1949), little is known about the importance of this period in relation to the development of avant-garde in Greece. My research concludes that the study of the history of the Greek avant-garde provides a new understanding of the development of collage, assemblage and the use of found objects after the Second World War by Greek artists. During my investigation, I realised that these techniques were first used by exiled artists in 1948 during the Greek Civil War, and later developed in the mid-1950s by Greek artists to become one of their main methods of producing art. During this period, Greek artists began to produce works that reflected a fragmentary vision in contrast to the hitherto classic aesthetics of the whole. Ostensibly, this was a reflection of the impossibility of a whole that war had created; the relationship of the individual within society had crumbled as civil war raged and society’s values, which had been based on the Orthodox Christian tradition, disintegrated. The use of found objects by Greek artists during this period expressed transgression as a way to deal with the main concerns of Greek culture.
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Barthélemy, Clarisse. "La poésie, clef de la critique de Jean Paulhan." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040108.
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Jean Paulhan a consacré son œuvre à la recherche des lois de l’expression et à la mise au point d’une méthode critique qui en tienne compte. Cette quête s’enracine dans l’étude et l’expérience poétiques : elle commence avec les Hain-teny, poésies populaires malgaches, trouve sa formule critique dans Clef de la poésie et s’achève dans Le Don des langues, tandis que dans Les Fleurs de Tarbes sont posés les termes d’un renouvellement de la critique. Quel rapport à la poésie Jean Paulhan entretenait-il pour en faire le lieu de sa maturation critique ? C’est à cette question que tente de répondre cette thèse, en étudiant la place et la fonction de la poésie dans la vie et dans l’œuvre de Jean Paulhan. Une première partie présente une approche chronologique et sociologique du lien qu’entretient Jean Paulhan à la poésie, à travers ses découvertes propres, la formation complexe de ses réseaux de relations et son positionnement au sein du champ de la littérature, enfin son action en faveur de la poésie en tant que lecteur et éditeur. Une seconde partie analyse les enjeux de la poésie, à l’intérieur de l’œuvre de Jean Paulhan, dans la définition d’une méthode critique et la découverte de soi en sujet critique. Il s’agit ainsi de montrer comment, en cherchant la « clef de la poésie », Jean Paulhan trouve dans la poésie la clef de la critique et comment cette intimité intellectuelle entre l’expérience poétique et la méthode critique irradie non seulement au sein d’une majeure partie de la communauté poétique, mais aussi au sein de toute son œuvre et jusqu’à sa personnalité d’écrivainJean Paulhan devoted his work to the research of the laws of expression and to the development of a criticism method, which would take them into account. That quest takes root in his studying and experiencing of poetry: it starts with the Hain-teny, poésies populaires malgaches, achieves its critical formula in Clef de la poésie and ends up with Le Don des langues, while the basis of the renewal of criticism is set down in Les Fleurs de Tarbes. What kind of a relationship with poetry did Jean Paulhan maintain that would stand for the starting point of his own idea of criticism? In order to answer this question, this dissertation sets out to define the place and role of poetry in Jean Paulhan’s life and work. In its first part, the dissertation shows a chronological and sociological study of the link between Jean Paulhan and poetry, through his own finds, through the building of a complex network and his positioning in the literary field, lastly through his action for poetry as a reader and as a publisher. In its second part, the dissertation analyses how poetry is at stake, throughout Jean Paulhan’s work, in the invention of a criticism method, and in the discovery of his own self as a critique. This study means to show how Jean Paulhan, by looking for “the key to poetry”, finally finds in poetry the key to criticism, and how such an intellectual intimacy between the experiencing of poetry and the criticism method spreads through a large part of the poet community and enlightens both his whole work and his personality as a writer
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
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Mortari, Virgilio. "Avant-garde et révolution. Pour une critique des implications politiques de la théorie du cinéma d’avant-garde, avec l’étude du cas de Jean Epstein." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030026.
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Face à la réappropriation, par les institutions et l’idéologie hégémonique, de la prétention émancipatrice de tout ce pan de l’art dit « d’avant-garde », cette Thèse s’est donné pour but la remise en question des présupposés idéologiques et sociaux de cette situation paradoxale. Ayant pour hypothèse que le cinéma nous offrirait le terrain de recherche le plus fertile, la confrontation de certaines parmi les plus importantes des études récentes sur le cinéma d’avant-garde, nous a invité à dresser une critique de la méthode formaliste, à essayer d’en comprendre les enjeux idéologiques et politiques, pour repenser, finalement, non seulement le concept d’« art d’avant-garde », mais aussi celui de Modernité et la vision de l’Âge Moderne lui-même. Si l’on peut concevoir la modernisation comme le processus de laïcisation et démocratisation des sphères socio-culturelles, les dynamiques de critique et apologie des institutions, de tradition et innovation des techniques et des styles, peuvent se configurer – selon une approche matérialiste dialectique – en tant que prises de position face aux conflits idéologico-politiques liés à l’affirmation de la Modernité et la découverte de ses limites. En renouant ainsi les gestes poético-esthétiques à leurs prémisses idéologiques et en abandonnant la définition qui réduit l’« art d’avant-garde » à une succession d’abstraites ruptures formelles, nous pouvons alors reconnaître une évolution de tendances « d’avant-garde » réciproquement conflictuelles, réactionnaires ou progressistes. Dans cette perspective et contrairement au discours critico-historiographique hégémonique, nous avons enfin essayé de montrer le caractère réactionnaire des prises de position théoriques et du programme d’instrumentalisation politique du cinéma conçu par le cinéaste Jean EpsteinFaced with the institutional and hegemonic ideological reappropriation of the emancipatory pretensions of what we call « Avant-Garde Art », this research aims at questioning the ideological and the social assumptions of such a paradoxical situation. Considering that cinema offers the most fertile research field, and confronting some of the most important recent studies on avant-garde cinema, this work criticizes the formalist approach while endeavouring to understand its ideological and political stakes in order to rethink, not only the concept of « Avant-Garde Art », but also Modernity and the vision of the Modern Age itself. Conceiving modernisation as a process of secularisation and democratisation of the socio-cultural spheres, the dynamics between critics and apology of the institutions, between stylistic or technical tradition and innovation, might rearrange themselves – according to a dialectical-materialist approach – as positions taken when faced with ideological and political conflicts related to the progress of Modernity and the discovery of its limitations. Intertwining poetical gestures with their ideological premises while leaving behind the definition that reduces Avant-Garde Art to a series of abstract formal breaches, we are led to acknowledge an evolution of Avant-Garde tendencies, reciprocally conflictual, reactionary and progressive. With this in mind and contrary to the hegemonic critical and historiographical discourse, we have attempted to show the reactionary dimension of both the theoretical understanding and the political instrumentalization of cinema formulated by Jean Epstein
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Gemme, Pascal. "De L'écho des jeunes au Nigog, pour une préhistoire de l'avant-garde littéraire au Québec, 1890-1920." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0027/MQ35680.pdf.
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Siukonen, Jyrki. "Uplifted spirits, earthbound machines studies on artists and the dream of flight, 1900-1935 /." Helsinki : Suomalaisen Kirjallisuuden Seura, 2001. http://catalog.hathitrust.org/api/volumes/oclc/48162692.html.
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Dunaeva, Cristina Antonioevna 1975. "De sistemas novos na arte de Kazimir Malievitch : da historiab da arte a analise da lingagem artistica." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281797.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T02:08:28Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_M.pdf: 563718 bytes, checksum: 9e1ff31ec246ac81abb6304ae37d9f1b (MD5) Previous issue date: 2005
Resumo: De Sistemas Novos na Arte (O nóvikh sistiémakh v isskûstvie), 1919, é o primeiro tratado teórico de Kazímir Sievierínovitch Maliévitch (1878, Kíiev ¿ 1935, Leningrado), um dos principais artistas da vanguarda russa, criador do suprematismo, teórico da arte, filósofo e pedagogo. No tratado Maliévitch apresenta e analisa os sistemas novos da arte: o impressionismo, o cubismo, o futurismo, a obra pictórica de Cézanne, Van Gogh e Gauguin, assim como a crítica da arte dita primitiva, a arte da Grécia clássica e a romana, o primitivismo moderno e o academismo. A crítica da arte está ligada à reflexão filosófica sobre o contexto histórico e cultural do surgimento da arte moderna e do suprematismo. O tratado está relacionado às atividades pedagógicas desenvolvidas por Maliévitch. Em 1918 ele é o professor dos Ateliês Artísticos Livres do Estado (SVOMAS ¿ Svobódnyie Khudójestviennyie Mastierskíie), em Petrogrado, e em 1919 ¿ o Mestre-Chefe dos I e II Ateliês Artísticos Livres do Estado em Moscou. Em Vítiebsk cria o grupo UNOVIS (Afirmadores da Arte Nova ¿ Utvierdítieli Nóvogo Isskûstva) e embasa o ensinamento na análise dos sistemas pictóricos. O pintor afirmava que o livro editado em Vítiebsk fora a transcrição de uma das palestras supostamente dadas em Moscou1
Abstract: ¿On The New Systems of Art¿, 1919, it¿s a first theoretical work of Kazimir Severinovich Malevich. This Russian artist of avant-garde, philosopher and pedagogue was the creator of the suprematism. In this work Malevich introduce the new systems of modern art, such as the impressionism, the cubism, the futurism, the painting of Cézanne, Van Gogh and Gaugain; and also represent the critics on the primeval art, the classic art of Greece and Rome, the modern primitivism and academic art. This critic is connected to philosophical reflection about the historical and cultural context of the birth of modern art and suprematism. In this period of time (1919) Malevich was a professor of the State Free Artistic Workshops (SVOMAS) in Petrograd and master of the I and II State Free Artistic Workshops in Moscow. In Vitebsk he created the Affirmers of the New Art (UNOVIS) group and instructed the pupils on the new systems of the art
Mestrado
Historia da Arte
Mestre em História
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Joly, Noémi. "ZERO et le devenir immatériel de l’art à l’épreuve de la technique, 1958-1964." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040048.
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ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensibleZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience
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Debien, Geneviève. "Otto Freundlich (1878-1943) : œuvre et réflexions philosophiques : Une quête esthétique à la recherche de l'homme et de son rapport au monde : vers de nouvelles perceptions." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040127.
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L'oeuvre plastique et l'oeuvre écrit d'Otto Freundlich (1878-1943) sont traversés par une grande thématique : celle d'une volonté de renouvellement de l'esthétique dans une quête de vérité, au coeur de laquelle se situe le rapport perceptif de l'être humain à la nature. Pour Otto Freundlich, qui adopte dans le champ de l'art une position d'artiste plasticien et d'artiste philosophe, ce renouvellement s'opère non seulement par l'intervention de l'artiste mais aussi par la perception visuelle des oeuvres. L'apparente hétérogénéité de son parcours artistique est donc sous-Tendue par une grande cohérence que cette thèse examine à travers une analyse d'une part diachronique des oeuvres plastique et écrit dans leur ensemble, d'autre part en rendant compte dans un même temps et de manière synchronique des modifications qui les affectent et de leurs modalités. Pour ce faire, cette recherche s'appuie sur le travail fondamental lié à la monographie d'artiste : l'étude précise des sources originales écrites principalement en gothique allemand, l'apport de sources inédites, l'analyse des oeuvres et du contexte de leur genèse, au sein du réseau international qu'Otto Freundlich tisse avec les acteurs du champ culturel présents en Allemagne et en France. Cette approche permet non seulement de corriger certaines données historiques mais aussi d'apporter des éléments nouveaux dans l'étude iconographique, iconologique et conceptuelle des oeuvres, isolément comme globalementA main thematic pervades Otto Freundlich's works of plastic art and writings : the will to renew the aesthetic in a quest for truth, in the center of which is the perceptive relation of the human being to nature. Otto Freundlich positions himself in the art field as a visual and a philosopher artist. To his mind, this renewal occurs not only through the intervention of the artist, but also by visual perception of works. The apparent heterogeneity of his artistic journey is underpinned by a strong coherence. This thesis examines his works of art andwritings diachronically as a whole, on one hand, and the changes and causes of their emergence synchronically, on the other. This research is founded on the methodology used for artist's monograph: a detailed study of the original sources written mainly in Gothic German, the contribution of unpublished sources, the analysis of works and of the context of their genesis within the international network Otto Freundlich weaves with the art field actors living in Germany and in France. This approach not only enables to correct some historical data, but also provides fresh elements in the iconographical, iconological and conceptualinterpretations of his works, separately and taken as a whole as well
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Mitrani, Alex. "Joan Brotat y los avatares de la figuración primitivista en la segunda vanguardia en Cataluña." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/97287.
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Joan Brotat (Barcelona, 1920-1990) fue un artista destacado en el proceso de recuperación de la modernidad pictórica durante los años de la postguerra española, aunque luego cayó progresivamente en el olvido. Esta tesis estudia y establece su trayectoria profesional vinculada a su biografía personal (contexto familiar y social), a los factores inducidos por el sistema artístico local y en relación con en el contexto nacional e internacional (fortuna crítica, evolución artística y comercial). Brotat fue uno de los máximos exponentes de una tendencia que podríamos denominar como figuración primitivista. Definimos aquí las características de esta tendencia, su lugar frente a otras opciones de vanguardia de la época como la abstracción y apuntamos sus variantes y principales representantes. Abordamos también las razones de su declive a partir del análisis de la carrera profesional de Brotat.
Descubrimos, gracias al estudio de su archivo familiar, la participación de Brotat en la guerra civil como parte de la Quinta del biberón republicana, hecho que escondió toda su vida y cuyo trauma influyó de toda evidencia en su obra. El análisis iconográfico y evolutivo del ingenuismo nos muestra una dimensión trágica y existencial. Así, su etapa expresionista, singular síntesis entre ingenuismo e informalismo, parece responder a una genuina necesidad psicológica. La comparación de su obra artística son sus proyectos profesionales en el campo de la ilustración infantil nos permiten hacer la diferencia entre naif el ingenuismo, que tanto preocupó a la crítica de la época. Un aspecto fundamental es el descubrimiento de una etapa abstracta a finales de los años cuarenta que contradice la jerarquía evolucionista que explica la figuración esquemática como un paso previo a la abstracción. El primitivismo ingenuista fue una opción consciente y deliberada. En su período de madurez, la obra de Brotat muestra una tendencia al amaneramiento y entra en decadencia, que se puede describir por la perdida de refinamiento y el estancamiento de los argumentos críticos que la apoyaron. La relación con los marchantes (Maurice Bonnefoy y Agustín Rodríguez Sahagún particularmente) se revela ambivalente en sus resultados. Lo mismo sucede con el aprovechamiento de la política artística franquista, dirigida por Luis González Robles.
El primitivismo figurativo catalán de postguerra es una combinación coherente (aunque intuitiva y sin programa militante) de medievalismo e ingenuismo. El ingenuismo de vanguardia de postguerra tiene dos manifestaciones, a veces coincidentes y otras divergentes: la radical y la nostálgica. El primitivismo se apoyó en un discurso crítico específico y ocupó un lugar, móvil, en el debate artístico. Estudiamos las diversas fuentes de este primitivismo y constatamos la influencia fundamental de Joan Miró. De entre los referentes internacionales destaca Massimo Campigli. Asimismo, se encuentran paralelos y vínculos con artistas españoles como Rafael Zabaleta, Benjamín Palencia y el núcleo valenciano con Manuel Gil y Salvador Faus. Un caso especialmente interesante es el de Manolo Millares, quien tuvo una relación significativa con Cataluña en esos años. Entre los artistas catalanes, el primitivismo tuvo gran protagonismo y adoptó diversas formas. De Sucre o Joan Ponç representan la vertiente más radical y atormentada, Albert Ràfols Casamada o Joan Vilacasas la opción más ingenua y afrancesada. Se observa una clara tendencia a la politización (Francesc Todó, Josep Guinovart, Estampa Popular). La opción lírica o poética, representada especialmente por Brotat, fue dejada progresivamente de lado. A menudo teñido de nostalgia y religiosidad, coincidente con cierta moda franciscanista, el discurso teórico al respecto del primitivismo fue ambivalente y pasó de la modernidad al conservadurismo.
La constatación de una corriente primitivista, de la cual Brotat sería la figura paradigmática en su éxito y su fracaso, obliga a repensar el canon del arte catalán de postguerra. El primitivismo no fue un estadio inmaduro de la modernidad en el camino hacia la abstracción sino que responde al contexto histórico particular de la España de postguerra con soluciones originales.Joan Brotat (Barcelona, 1920-1990) was a prominente artist in the process of recovery of pictorial modernity in Spain after the Civil War, but then his work gradually fell into oblivion. This thesis studies his professional career, in relation to his personal biography (family and social context), the local art system, and the national and international context (critical fortune, artistic and commercial development). The thesis proposes that Brotat was in fact a paradigmatic figure of a primitivist tendency. Primitivism was not an immature stage of modernity on the way toward abstraction, but responded to the particular historical context of Postwar Spain with original solutions. The success and then failure of Brotat and Primitivism invites to reconsider the canon of Postwar Catalan art. Untill his death, Brotat did hide his involvement in the Civil War, a trauma that marked his work and existence. The iconographic analysis and the evolution of his modern naif style shows a tragic and existential undertones. A key aspect is the discovery of an abstract stage in the late forties contradicting the evolutionary hierarchy that explains schematic figuration as a step toward abstraction. On the contrary, naive primitivism was a conscious and deliberate option. Postwar Catalan Figurative Primitivism was a coherent mix of medievalism and naiveté(although without a declarated program). The naiveté of postwar art has two aspects : the radical and nostalgic, which sometimes appear together and sometimes separately. Among Catalan artists, primitivism had great prominence and took various forms. De Sucre or Joan Ponç represent the more radical and tormented side, Albert Rafols Casamada or Joan Vilacasas the most naive and influenced by French modernism. There is, later, a clear trend towards politization (Francesc Todó Josep Guinovart, Estampa Popular). We studied the various sources of this primitivism and found the fundamental influence of Joan Miró and Massimo Campigli. Likewise, there are links to Spanish artists such as Rafael Zabaleta, Benjamín Palencia, the valencians Manuel Gil and Salvador Faus or Manuel Millares. Often tinged with nostalgia and religiosity, in sinthony with a Franciscan fashion, the theoretical discourse about primitivism was ambivalent and evolved from modernity to conservatism.
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Boroff, Kari. "Was the Matter Settled? Else Alfelt, Lotti van der Gaag, and Defining CoBrA." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586786734877754.
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Claass, Victor. "Julius Meier-Graefe contre l'impressionnisme." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040076.
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Critique et historien de l’art autodidacte, mais aussi éditeur, galeriste, commissaire d’exposition, expert, courtier et infatigable homme de terrain, Julius Meier-Graefe (1867-1935) joua un rôle prééminent dans le monde de l’art européen des trente premières années du XXe siècle. Basé sur l’examination d’archives et de correspondances inédites ainsi que sur une relecture attentive de son vaste corpus d’écrits publiés, ce travail entend retracer la trajectoire d’un passeur téméraire souvent réduit à un rôle de défenseur de l’impressionnisme français dans l’Allemagne de Guillaume II. Si son progressisme francophile tout comme le formalisme de son approche des arts visuels ont parfois été soulignés, l’analyse détaillée de son implication dans le marché de l’art, le monde des musées et plus généralement, dans les débats politico-culturels de son temps, révèle une personnalité plus nuancée. Bien que méfiant envers les fantasmes identitaires des élites allemandes conservatrices, Meier-Graefe lutta sans répit pour un nationalisme d’ouverture, espérant infléchir le cours d’une culture germanique disloquée et hostile aux valeurs de la modernité. En suivant la carrière de cet Allemand cosmopolite, brutalement cisaillée par la Grande Guerre et achevée en France en exil du nazisme, cette thèse entend décrypter les mécanismes d’un projet de régénération culturelle ambitieux, impliquant actes et discours. Alternant entre phases d’enthousiasme intense et de profond désenchantement, Meier-Graefe s’y dévoile comme le chantre d’une modernité idéalisée dont il condamna obstinément les embardées avant-gardistesSelf-taught art critic and historian, but also publisher, gallery owner, curator, expert, broker and tireless field man, Julius Meier-Graefe (1867-1935) played a prominent role in the European art world of the early 20th century. Based on a close study of numerous archives and letters, as well as a careful rereading of his vast body of published work, this dissertation endeavours to retrace the life of a reckless facilitator, whose career is too often reduced to the role of “importer” of modern French art in Germany. If Meier-Graefe has been frequently identified through his progressive francophile positions and formalistic viewpoints on visual arts, a detailed analysis of his involvement in the art market and institutions—and more broadly, in the political/cultural debates of his time—reveals a richer personality. Wary of the identity concerns shared by conservative elites of the Empire, he vigorously encouraged a “positive” nationalism, hoping to adjust the course of a fragmented Germanic culture hostile to the values of modernity. Tracing the steps of a cosmopolitan German whose path was brutally affected by the outbreak of World War I, this essay examines the mechanisms of his ambitious project of cultural regeneration, involving both action and discourse. Jostled between phases of enthusiasm and deep disillusionment, Meier-Graefe emerges as the champion of an idealized modernism, whose avant-garde experiments he nevertheless severely condemned
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Oliva, Fernando Augusto. "Um crítico em mutação: Frederico Morais e a arte brasileira em três momentos (1966-1973; 1974-1984; 1985-2012)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-12012018-102640/.
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O interesse desta tese reside na persistência da questão da \"arte brasileira\" na crítica de Frederico Morais (Belo Horizonte, 1936) em três períodos distintos de sua produção, os quais nomeio, de acordo com o comportamento de seu discurso: \"Contestação\" (1966-1973), \"Dúvidas\" (1974-1984) e \"Conciliação\" (1985-2012). Parte-se do fato de que a formulação de um debate em torno da definição do que seria uma \"arte brasileira\" surgiu ainda no século XIX - embora já tivesse se delineado em termos literários no século anterior - e foi se transformando com o passar do tempo, mantendo-se vivo, porque ainda em discussão, durante o século seguinte. Nesse contexto, procurou-se identificar, na produção de Frederico Morais, a sobrevivência da questão do nacional e, ainda, mostrar de que maneira ele se utiliza de uma prática constante de revisão da história - por meio de textos publicados na imprensa, mas também manuais, cronologias e \"enciclopédias\" - para manter essa discussão em pauta. No Capítulo 1 (\"Contestação\") analiso o primeiro período de sua crítica de arte, caracterizado pela adoção de um discurso assertivo e militante, em defesa de uma \"arte brasileira\" como um espaço privilegiado para a experimentação e a resistência. Nessa época, ele apoia incondicionalmente a \"vanguarda brasileira\", movimento que, segundo o autor, estaria sediado no Rio de Janeiro, expandindose a partir da antiga capital para o restante do país. No Capítulo 2 (\"Dúvidas\") trato de sua fase de transição, em que se revela certo desencanto com a situação da vanguarda no Brasil. No Capítulo 3 (\"Conciliação\") abordo o segundo período do crítico, quando se consolida o processo em que Frederico Morais abdica da defesa do \"novo\" enquanto principal saída para a \"arte brasileira\", passando a revisar tanto suas posições como parte significativa da história da arte brasileira. Nesse percurso, seus vai adotando posturas mais conciliatórias, menos intransigentes para o que entende como possibilidades de uma produção artística de caráter brasileiro. Esta tese procurou demonstrar que é possível encontrar ecos do desejo por uma arte nacional em críticas, ensaios e artigos que atravessam as três fases do percurso de Morais. Buscou ainda apontar as contradições e fragilidades que surgiram entre duas posturas distintas do crítico em relação à produção artística do período no país: uma, a escolha pelo que seria \"genuinamente nacional\", aproximando-se de algo que singularizasse a arte produzida no Brasil em relação àquela que se apresentava assertivamente como internacional; outra, colocandose contra o risco do isolamento, do atraso e do descompasso em relação ao mundo, adotava a opção por se deixar levar pelas correntes artísticas que vinham dos Estados Unidos e Europa.The interest of this thesis lies in the persistence of the question of Brazilian art in the criticism produced by Frederico Morais (Belo Horizonte, 1936) in three distinct periods of his production, which I have named, according to the behavior of his discourse, as \"Contestation\" (1966-1973), \"Doubts\" (1974-1984) and \"Conciliation\" (1985-2012). The starting point resides in the debate formulated around the definition of what Brazilian art is, which emerged in the nineteenth century -- although it had already been delineated in literary terms in the previous century --, a debate that changed over time, kept alive in discussion throughout the following century. In this context, the thesis aims to identify the survival of this question of the national in Morais\' production. It also proposes to show -- through texts published in the press, but also in chronologies, manuals and \"encyclopedias\" -- how he makes constant use of historical revision to keep the discussion relative to Brazilian art on the agenda of public debate. In Chapter 1, I analyze his first period, characterized by the assertive and militant discourse adopted in defense of Brazilian art as a privileged space for experimentation, resistance and, above all, for the avant-garde. In his view, this movement was based in Rio de Janeiro, expanding from the former capital to the rest of the country. In Chapter 2, I deal with his transitional period, which reveals a certain disenchantment with the situation of the avant-garde in Brazilian art. In Chapter 3, I address the critic\'s second period, which consolidates the process in which Morais abdicates the defense of the \"new\" as the principal \"way ahead\" for Brazilian art, and comes to revise not only his positions, but a significant part of the history of the Brazilian art as well. Over the course of time, Morais gradually adopts positions that are less intransigent and more conciliatory regarding what he understands as possibilities for an artistic production with Brazilian character. This thesis has attempted to demonstrate the possibility of finding echoes of this desire for a national art in criticism, essays and articles that intersect the three phases in the trajectory of Frederico Morais. It has also sought to indicate the contradictions and fragilities that emerged between two distinct stances adopted by the critic in relation to the period\'s artistic production: the option for what could be considered \"genuinely national\", making advances in the direction of something that would singularize it in relation to an art that presents itself assertively as international; or the option to counter the danger of isolation, backwardness and being out-of-step with the world, by choosing to be carried along by the artistic currents imported from the United States and Europe.
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Owen, Benedict Novotny. "Cartoon Conceptualism: Periodical Comics and Modernism in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494086092509444.
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Salamanca, Angarita Óscar Mauricio. "Memoria del "Goldfish": Presentación y Representación del animal en el dibujo occidental de finales del siglo XX, La." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2560.
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El animal ha estado presente en el laboratorio a partir del siglo xx. Ya sea en la investigación científica, en el debate político o en la exploración artística, el animal ha carecido de refugio, es la víctima propiciatoria de todos los sacrificios contemporáneos.Sin la función exploratoria que las vanguardias adjudicaron al arte poco o nada habría que documentar de tales operaciones. La figuración plástica, por otro lado, ha afianzado su proximidad en los diseños derivados del industrialismo tardío. El pop como escuela última del siglo pasado ha visto explotar las hibridaciones entre imagen pictórica y mediática. El siglo xx fue el siglo del triunfo de la imagen visual. La profusión de imágenes ha saturado la visión y sustituido al mundo por su representación.
La gráfica en el arte de finales de siglo cobraría una inusitada preponderancia por sobre las expresiones pictóricas. El arte conceptual y los minimalismos ejercieron una fuerte influencia sobre los estilos emergentes atrajeron una mayor atención hacia aspectos estructurales y sistemáticos de la práctica del arte. Hacia principios del siglo XXI el estatuto contemporáneo del dibujo es de primera relevancia respecto a otros recursos.
Poco queda ya de las identidades clásicas, nada, a decir verdad, de los géneros pictóricos donde las presencias animales hallaban clara pertinencia. El código genético es el trazo definitorio de las identidades en el siglo XXI. Ni la naturaleza muerta, ni el paisaje, ni el retrato con animales subsisten más que como formas paródicas. Los individuos del finales del siglo perdían toda relación de permanencia y trascendencia. En ese proceso fueron desfigurándose y desmaterializándose como la misma sustancia de la obra artística. Devenido discurso el arte tendría que volverse por un lado autorreferencial y por el otro una aplicación comunicativa.
No hallamos más a la naturaleza en nuestro entorno. El arte del siglo XX fue urbano, artificial, abstracto, sintético, teórico y, finalmente, sarcástico. La imagen de la naturaleza pasó a ser un tópico romántico trascendido y obsoleto; un lamento nostálgico. La sobre explotación de los recursos naturales aunada a la depauperación de las regiones rurales del planeta, particularmente en regiones extensas del tercer mundo, ha generado una actitud catastrofista hacia el programa desarrollista de occidente y se plantean más dudas que certezas frente al destino de múltiples especies animales y vegetales. El imaginario tradicionalmente prolífico y virtuoso de la naturaleza como abundancia inabarcable y como fuente de secretos y maravillas se ha trocado en una visión apocalíptica de fin de la vida.
La creciente preocupación en torno a la degradación acelerada de la naturaleza ha conducido a una conciencia política y civil de la ecología como postura ética y cultural de vanguardia. En correspondencia con el ecologismo desde el arte se ha hecho presente una actitud de reinterpretación de lo natural, ya no por medio de la imitación figurativa, sino como correlato cultural elíptico.
Por ello, la presencia de los animales en el arte de las últimas décadas del siglo XX plantea paradojas interesantes. No son el tema central de tal práctica, a decir verdad ningún tema lo fue; son agentes de extrañeza y de descentramiento. Son un sujeto aparentemente banal, periclitado en la historia, pero abandonado al margen de mitologías y utopías ancestrales. Los grandes imaginarios zoológicos de claras connotaciones al culto han perdido pertinencia en un mundo tecnificado y mediatizado. Por otro lado ese espacio salvaje del mundo animal, como instinto y naturaleza pura, ha sido neutralizado por la práctica psicoanalítica. Es propio de la civilización actual no hallar otros referentes que los antropocéntricos. El estatuto animal ha sido degradado a la domesticación e incorporado a la cadena productiva. Lo animal es excesivo y excedente: un suplemento irracional sin lógica en el diseño de la civilización futura.
La calidad espiritual del arte contemporáneo es débil, porque la sociedad que lo produce tiene un alma confundida. Las formas animales, tradicionalmente arquetipos de valor y conocimiento, nos son tanto más extrañas cuanto más manipulables y desintegradas nos parecen. Buscar un lugar para su manifestación en el arte necesariamente demanda una reconsideración de los procesos culturales de interpretación del mundo como un espacio donde aún tenga cabida la dimensión espiritual.
"Goldfish's Memory: Animals' Display and Representation in the Late 20th Century Western Drawings. (1970 - 2000)"
The traditionally prolific and virtuous imaginary of nature, as an endless abundance and source of all secrets and wonders, has changed into an apocalyptic vision of the end of life, as we know it.
The increasing concern about the fast degradation of nature has led to a civil and political conscience around ecology, as an avant-garde ethical and cultural posture. From the point of view of the ecology, seen through the lens of the Arts, there has been an attitude towards the re-interpretation of the natural, not by means of the figurative imitation, but as a cultural elliptic co-narrative.
This is the reason why, the presence of animals in the art production of the last decades of the 20th Century poses some interesting paradoxes. Animals are not the central theme of this practice; actually, they never were: they are agents of estrangement and decentralization. They are an apparently banal subject, glorified in history, but put aside along with mythologies and ancestral utopias. The great imaginary from zoology, clearly bonded to cult and ceremonial practices, has lost its pertinence in a technophile and media-influenced world. On the other hand, the "savage" space of the animal realm, as pure and natural instinct, has been neutralized by a psychoanalytic practice. It is proper to the current civilization to find no other references that those anthropocentric. The animal statutory has been subdued to domestication and incorporated to the dynamics of the production line. The animal is excessive and a left over: it is an irrational supplement without logic in the design of the future civilization.
The spiritual sphere of contemporary art is weak because the society that produces it bears a confused soul. Animals' form, traditionally depicted as a knowledge and value archetype, appears to us the stranger the more controllable and disintegrated they seem. To look for an appropriate space for their artistic manifestation obliges a reconsideration of all the cultural processes we use to interpret the world as a place where a spiritual dimension is still possible.
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Marques, Ferreira Luis Miguel. "Artes gráficas en Portugal en el periodo de las vanguardias históricas (1909–1926)." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/146221.
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Nas décadas de 1910 e 1920, os artistas da vanguarda histórica portuguesa, inspirados pelas influências que chegavam de fora, tentaram criar uma estética que desafiava a tradição e procurava definir um novo papel da arte na sociedade. Nesse percurso, a vanguarda nacional seguiu princípios gerais comuns aos diferentes movimentos de vanguarda internacionais, tão importantes quanto os que existiam em França, Itália ou Rússia, entre outros países, e dos quais partiram relevantes ondas de influência do experimentalismo nas artes, na experimentação gráfica e tipográfica do meio impresso. Um contexto onde as revistas literárias mostraram ser o instrumento ideal pelo qual as vanguardas históricas tentaram conectar ideias e/ou práticas com audiências específicas, procurando atrair novos aderentes às suas ideologias, impor as suas ideias, inovar e expressar a sua individualidade.
Entendendo a importância do movimento de vanguarda histórica no contexto nacional como ponto de transição e de reforma cultural, tem-se como objectivo desta investigação verificar se a tentativa de ruptura da tradição sócio-cultural protagonizada pela vanguarda motivou uma ruptura dos modelos pré-estabelecidos tornando-a num caso específico e original, convergindo com as propostas artísticas-literárias, e ainda qual o legado dessa intervenção. Pretende-se, nessa averiguação, caracterizar os diferentes estilos gráficos, expressivos e tipográficos que marcavam o grafismo das publicações naquela época, conferindo possíveis analogias com os exemplos internacionais (de inovação e tradição). Quer-se, ainda, identificar os protagonistas responsáveis pela determinação e execução dos estilos gráficos/tipográficos aplicados nos artefactos impressos, assimilando o seu modus operandi.
As revistas literárias que formam o corpus deste estudo, são aquelas que apresentavam maior relevância literária na época e manifestaram uma relação – de concordância ou de oposição – com os princípios de vanguarda. O trabalho prático incide na análise gráfica de três elementos essenciais da estrutura gráfico-editorial das revistas: a capa, o índice/sumário e as páginas que definem um modelo gráfico, ou que se distingam pela sua construção macrotipográfica. Deste estudo, em conjunto com as demais investigações técnicas e históricas contidas neste ensaio, concluiu-se que, no âmbito gráfico/tipográfico, a actuação da vanguarda baseou-se nas propostas dos futuristas italianos, procurando uma ampliação dos valores semânticos dos textos literários; questionaram os modelos tradicionais e lutaram contra os modismos de carácter ornamental, apresentando algumas soluções inovadoras no contexto nacional, que escassamente ultrapassaram os limites da composição ortogonal. O seu legado abriu o espaço à construção de uma nova semântica gráfica que se manifestou com uma vocação nacionalista, que passava pelo neoacademismo e valorização do latino clássico oitocentista, testemunhando o nascimento de uma nova linguagem gráfica. Esta seria reveladora de um retorno historicista, e haveria de conduzir o Design Gráfico nacional ao caminho do internacional Modernism.En las décadas de 1910 y 1920, los artistas de la vanguardia histórica portuguesa, inspirados por las influencias que llegaban de fuera, intentaron crear una estética que desafiaba la tradición y trataba de definir un nuevo papel del arte en la sociedad. En ese camino, la vanguardia nacional siguió principios generales comunes a los distintos movimientos de vanguardia internacional, tan importantes como los que existían en Francia, Italia o Rusia, entre otros países, y de los cuales partieron las ondas relevantes de influencia del experimentalismo en las artes, en la experimentación gráfica y tipográfica del medio impreso. Un contexto en el que las revistas literarias demostraron ser el instrumento idóneo mediante el cual las vanguardias históricas intentaron conectar ideas y/o prácticas con audiencias específicas, buscando atraer a nuevos adeptos a sus ideologías, imponiendo sus ideas, innovando y expresando su individualidad. Comprendida la importancia de la vanguardia histórica en el contexto nacional como punto de transición y de reforma cultural, se tiene como objetivo en esta investigación verificar si el intento de romper con la tradición sociocultural liderada por la vanguardia condujo a una ruptura de los modelos pre-establecidos, convirtiéndola en un caso particular y original, convergiendo con las propuestas artísticas y literarias y, a su vez, con el legado de esta intervención. Se pretende, en esta investigación, caracterizar los distintos estilos gráficos, tipográficos y expresivos que marcaron el grafismo de las publicaciones en aquel momento, comparando posibles analogías con los ejemplos internacionales (de tradición e innovación). Además, el objetivo es identificar a los protagonistas responsables de la determinación y ejecución de los estilos de gráficos/tipográficos aplicados a los artefactos impresos, asimilando su modus operandi. Las revistas literarias que forman el corpus de este estudio, son las más relevantes en el marco literario de la época y expresaban una relación –de acuerdo u oposición– con los principios de la vanguardia. El trabajo práctico se centra en el análisis gráfico de tres elementos esenciales de la estructura gráfica-editorial de las revistas: la portada, el índice/sumario y las páginas que definen un modelo gráfico, o que se puedan distinguir por su construcción macrotipográfica. De este estudio, junto con las investigaciones técnicas e históricas contenidas en este ensayo, se concluyó que, en el contexto gráfico/tipográfico, la actividad de la vanguardia se basó en las propuestas de los futuristas italianos, buscando una extensión de los valores semánticos de los textos literarios; cuestionaron los modelos tradicionales y lucharon contra las tendencias de carácter ornamental, mostrando algunas soluciones innovadoras en el contexto nacional, que apenas sobrepasaba los límites de la composición ortogonal. Su legado abrió el camino a la construcción de una nueva semántica gráfica que se manifestó con una vocación nacionalista, que pasa por el neo-academismo y la valoración del clásico latino del siglo XIX, presenciando el nacimiento de un nuevo lenguaje gráfico. Esto sería revelador de un retorno historicista y conduciría al diseño gráfico nacional por la ruta del International Modernism.
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Silveri, Rachel. "The Art of Living in the Historical Avant-Garde." Thesis, 2017. https://doi.org/10.7916/D8XK8STK.
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This dissertation reexamines the art-into-life narrative of the historical avant-gardes through an analysis of a set of experimental life practices established by artists across Dada, Orphism, and Surrealism. Focusing on Tristan Tzara’s performances of identity, Sonia Delaunay’s fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, my project proposes a broader envisioning of avant-garde material culture to examine the ways in which artists creatively produced an “art of living” in relation to the normative types of “lifestyle” produced contemporaneously in France during the years 1910-1930. Rooted in original archival research and interdisciplinary in focus, my discussion of these artists is centered on three distinct sites within material culture (the manifesto, advertising, the office) and reveals how these activities at times challenge and at times replicate various dominant discourses.
The first chapter examines how Samuel Rosenstock became the Dadaist Tristan Tzara. Specifically, I focus on Tzara’s elaboration of himself through the delivery and subsequent publication of his manifestos, Sept manifestes dada (1924), which performatively cite and repeat his name throughout. Discussed alongside additional publications and events throughout Paris Dada, I detail how Tzara’s well known critique of language is geared toward a production of subjectivity that refuses to cohere to the types of categorical identity dominant within France at the time, including those of national, racial, and ethnic classification, particularly as they circumscribed the artist within the popular press.
In the second chapter, I consider Sonia Delaunay’s early simultaneous dresses (1913) and the development of her commercial fashion business, Maison Delaunay (1924-1931), analyzing in particular the ways in which Delaunay deliberately intertwined her image with her business practices of publicity, from branding and advertisements to fashion photography. Elaborating the ways in which these practices evolved within the gendered constraints of the artist’s own everyday life as well as the broader feminization of the decorative arts, I argue that Delaunay strategically negotiates normative forms of marketing and commercialism in order to gain visibility and ultimately recognition as an artist.
My third chapter provides the first in-depth material history of the Bureau de recherches surréalistes, which operated in Paris from October 1924 to April 1925. Focusing on the Bureau’s daily Cahier de la permanence, its promotional photographs, and press announcements, I detail the ways in which the Bureau became a site of debate among the Surrealists for issues concerning office labor and governance. Elaborating the tensions between the Surrealist pursuit of revolutionary action and the need for workplace leadership and control, I position how the daily procedures of the Bureau overlap with the rise of standardized office practices as outlined in contemporaneous trade journals and management theories.
Together, these creative, material practices offer a new narrative of the avant-garde endeavor to merge art with life. Here, Dada becomes an identity, Orphism becomes a business, and Surrealism becomes a workplace, each with its own political uncertainties, each simultaneously challenging and upholding varying historical norms, each serving as an alternative to both pure critique and pure affirmation. Within this discussion, the traditional concepts of an avant-garde politics (revolution, utopia, and anti-capitalism) give way to a greater consideration of ethical practices of self-making. “The Art of Living in the Historical Avant-Garde” thus reveals the integration of art and life as neither utopian pursuit nor historical failure but rather as a series of actual life practices ambiguously enmeshed within a terrain marked by nationalism, consumerism, and bureaucracy.
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McGuigan, John. ""A salomonic key" : radical art and politics in American literary modernism /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/51088823.html.
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Bryzgel, Amy. "New avant-gardes in Eastern Europe and Russia, 1987-1999." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17283.
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Szu-Yun, Chen, and 陳思韻. "“Avant-Garde” Characteristics in Taiwan’s Art Criticism After Martial Law was Lifted." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/89082969853318452276.
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碩士國立高雄師範大學
美術學系
95
The thesis mainly explores the “avant-garde” characteristics of contemporary art in Taiwan after Martial Law lifted, and targets art criticisms to analyze the development of Taiwanese art in the late Twentieth century. In the 1980’s, there was a gradual rise of avant-garde in Taiwan’s artworld. The many art exhibitions named “avant-garde” were considered “modern” by art critics. At that time “avant-garde art” was Taiwan’s contemporary art. This new concept of “avant-garde” became prominent in Taiwan’s artworld. However, the term “avant- garde” was coined in Western Europe and the use of the term later extended to America and throughout the world. After some time, the “avant-garde” implicated special features to the Taiwan region. This article will also take a deeper look at “avant-garde” from the aspect of the Analytic Philosophy theory. It especially emphasizes the “avant-garde” characteristics in art criticisms and discourse. Furthermore, the article is written with a blend of citation analysis, discourse analysis, critical consciousness, and compares the characteristics of European avant-garde art with those of American avant-garde art, to produce this analysis of avant-garde discourse. The article illustrates the concept of avant-garde, a culture of complicated ideologies.
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Dabrowski, Magdalena. "The Russian contribution to modernism "construction" as realization of innovative aesthetic concepts of the Russian avant-garde /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/28581646.html.
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Williams, Alena. "Movement in Vision: Cinema, Aesthetics, and Modern German Culture, 1918-1933." Thesis, 2014. https://doi.org/10.7916/D8N29V45.
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This study addresses the intersection of the avant-garde and mass culture through a close reading of three singular works from the Weimar Republic in Germany. Bauhaus founding director Walter Gropius (1883-1969) designed a "Total Theater" (1927, unbuilt) whose multiple screens encircled an interior structure for the presentation of twelve simultaneous film projections. In 1930, Hungarian-born Bauhaus professor László Moholy-Nagy (1895-1946) completed a rotating, metallic sculpture for the projection of light effects, which has assumed a number of different configurations within theater, film, and the museum since its inception in 1922. In the 1910s and 20s, Swedish-born Viking Eggeling (1880-1925) experimented with the properties of line by transferring static, two-dimensional collages from the animation table to the cinematic screen. In addition to undoing experimental film's logic as a genre, this study addresses the epistemological questions each of these works introduce--namely, the production of artistic and scientific knowledge in the early twentieth century, the evidentiary status of reproducible media, and the institutional framing of works of art. Rather than establish a genealogy between early twentieth-century kinetic and light experiments and the "expanded cinema" practices of the 1960s and 70s, this dissertation approaches these objects as "adjacencies" to the cinematic dispositif, within which their relationship to art and politics, technological determinism, the ontology of the work of art, and the compartmentalization of media are examined.
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Aylen, Marielle. "Modern vision and national memory : Jori Smith, the Montréal avant-garde, and Charlevoix painters /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51669.
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Thesis (Ph.D.)--York University, 2008. Graduate programme in Women's Studies.Typescript. Includes bibliographical references (leaves 400-444). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51669
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Rödel, Harry. "Nothing : how can some buildings have the sensatio[n] of weightlessness? An explanatory document submitted in partial fulfillment of the requirements for the degree of Master of Architecture, UNITEC [New Zealand] /." Diss., 2008. http://www.coda.ac.nz/cgi/viewcontent.cgi?article=1002&context=unitec_arch_di.
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Azarov, Konstantin V., and 艾坦丁. "Taiwanese Avant-garde art from a Kantian point of view: A transition to the aesthetics of the sublime." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4k4cpe.
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博士國立政治大學
哲學系
107
Art studies used to believe that art is centered around the idea of the beautiful, but since the time of the Avant-garde this has changed. Lyotard's theory suggests an alternative: the sublime. It is a great advantage of Kantian aesthetics that it can suggest such an alternative center. How well this new center functions is a different question. It was tailored for Western art on the basis of Western thought, but contemporary art faces global challenges of non-western aesthetic values. This thesis uses a transition to the aesthetics of the sublime as a model for the Avant-garde art of Taiwan. In the introduction to the thesis an exposition of the elements of this model is given: what is Avant-garde art, what is Kant's theory of the sublime and how is Kant's theory applied to Avant-garde art according to Lyotard and others. The first chapter presents the background of the sublime aesthetics in Taiwan. A brief exposition of the Taiwanese art world before the 60s is given. The second chapter demonstrates the model and how it works on the material of Taiwanese Avant-garde of the 60s. The end of the aesthetics of the sublime is presented in the last chapter. How is the sublime aesthetics operating in Avant-garde art? One of the important moments of sublimity for Kant is the mind's ability to grasp the object conceptually while being overwhelmed by it regarding the limits of the senses. The object felt to be sublime is too big or too forceful. For Kant, this is why the pyramids of Egypt are so fascinating for human beings. This feeling is called the mathematically sublime. In the Black Square (1915) by Malevich this ability of the mind can find an ideal object for practice: the viewer is exposed to an endless space of blackness from one side of the frame to another. Traditionally, the painting is a window to a particular world. The Black Square is like a window to the universe of darkness. That is the reason why the Black Square can produce a sublime feeling in a sensitive viewer. For such a viewer the Black Square looks like a tremendous abyss. In Taiwanese Avant-garde art Malevich's square finds an interesting equivalent in Li Yuan-Jia's (李元佳) point. Li Yuan-Jia was interested in this graphical element, which at the same time is a concept in mathematics. Both Malevich and Li Yuan-Jia used their signature forms of abstract art, a square and a point, to refer to the absolute. During its first exhibition, Malevich puts the Black Square in a sacred place of the traditional Russian house – in a red corner, where house icons are supposed to be. Li Yuan-Jia builds on Daoist symbolism to ground his own 'Cosmic Point', as critics call it. The stability of the Black Square, the way it is filled with color from border to border contrasts with the elusiveness of the point, for which, as geometry supposes, real size stands for no size at all. A point, to quote Euclide, “is that which has no part.” The contrast between the square and the point finds itself in parallel with the fundamental distinction of Western and Chinese styles of thinking: the world as something permanent or as endless change. The thesis illuminates the reasons which lead to the differences and the similarities of Li's point and Malevich's square.
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Denischenko, Irina M. "Avant-Garde Poetics of Language in Central and Eastern Europe: Vladimir Mayakovsky’s and Karel Teige’s Responses to the Crisis of Language and Representation." Thesis, 2018. https://doi.org/10.7916/D86T24CH.
Full textAbstract:
This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artists’ artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artists’ individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde.
Chapter 1 traces Mayakovsky’s response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovsky’s participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poet’s solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate others’ voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poet’s metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000.
Chapter 2 highlights Karel Teige’s response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovsky’s politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teige’s artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of “image poetry,” which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused form—the typophoto, which was integrated into the experimental multimedia book ABCs (1926).
The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language.
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Rodrigues, Verónica Inês Manguito da Costa. "Museus de arte, lugares de morte e de resistência: a estética de Hegel e as vanguardas artísticas." Master's thesis, 2018. http://hdl.handle.net/10362/35211.
Full textAbstract:
Afirmar que o museu subtrai à arte a sua autenticidade implica olhar para a história e para a cultura
como esferas separadas na quais a obra de arte é colocada no momento de produção – aí e apenas aí a
arte encontra a sua essência – e portanto olhar para a arte como habitante e não produtora de
circunstâncias históricas. Perguntar pelo papel da arte – e do museu – na história, levar-nos-á quase
sempre a pensar na grande questão que nos últimos séculos alimenta os debates em relação a essa
figura a que chamamos cultura. Será da cultura a função de produzir enunciados ou apenas de
conservá-los? A presente investigação debruçar-se-á sobre a instituição do museu de arte - do século
XVIII aos dias de hoje – como fazedora de narrativas culturais e históricas, para as quais a estética de
Hegel, ela própria museal, funcionará como simultâneo ponto de partida e de chegadaTo say that the museum detracts from the authenticity of the artwork relies upon regarding history and culture as two separate spheres in which the artwork is positioned at the moment of production – only there can art retain its essence - hence this means looking at art as inhabitant of historical circumstances, rather than a producer of them. To ask about the role of art historically as well as that of the museum, will almost always lead us to the old question that in past centuries has fueled debates on that figure that we now call culture. Does culture produce something, or is its task simply that of preserving what something/someone else has produced? Our investigation examines the institution of the art museum as a cultural and historical narrative maker from the 18th century to the present days. Hegel’s Aesthetics, museal in its own right, will serve as both the departure and arrival point for our analysis.