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Journal articles on the topic 'Modernism (Art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Gralinska-Toborek, Agnieszka. "Nadawanie nowych znaczeń modernizmowi." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 18 (January 1, 2006): 3–18. http://dx.doi.org/10.18778/0208-6107.18.01.

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The contemporary vision of modernism, which is constructed from a point outside of that period, differs from the vision created by the participants and originators of modernism. One of the major problems encountered today is the one of the meaning of modernist works art. The extreme concept of "silent" and "pure" art followed by Clement Greenberg and other modernists has now found itself under criticism. The interpretations of many modern currents in art reveal attempts at identifying new content in works of art, which sometimes seems to be an act of assigning new meaning to art. Such interpre

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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.

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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and mean

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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article

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Sharpe, Gemma. "Abstract States: Modernism in Lebanon, Syria, and Turkey." ARTMargins 13, no. 1 (2024): 106–18. http://dx.doi.org/10.1162/artm_r_00375.

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Abstract A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultura

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Abd Aziz, Mohamad Kamal. "Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (2021): 59–68. http://dx.doi.org/10.24191/ijad.v5i2.6.

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This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to

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Akapng, Clement. "Contemporary Discourse and the Oblique Narrative of Avant-gardism in Twentieth-Century Nigerian Art." International Journal of Culture and Art Studies 4, no. 1 (2020): 9–23. http://dx.doi.org/10.32734/ijcas.v4i1.3671.

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The history of Twentieth Century Nigerian art is characterized by ambiguities that impede understanding of the underlying modernist philosophies that inspired modern art from the 1900s. In the past five decades, scholars have framed the discourse of Contemporary Nigerian Art to analyze art created during that period in Africa starting with Nigeria in order to differentiate it from that of Europe and America. However, this quest for differentiation has led to a mono-narrative which only partially analyze modernist tendencies in modern Nigerian art, thus, reducing its impact locally and globally

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Rykov, Anatoly V. "The Quarrel of the Ancients and the Moderns and the Theory of Modernism." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 147–63. http://dx.doi.org/10.21638/spbu15.2022.107.

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This paper considers issues of convergence of classical and modernist art theories on the example of the so-called Quarrel of the Ancients and the Moderns at the turn of the seventeenth and eighteenth centuries. The works of the main participants in this debate, Charles Perrault and Nicolas Boileau, are examined in the context of the theory of modernism and questions of the origin of modernist art. The aggravation of the contradictions between the two versions of the theory of classicism and, more broadly, the two concepts of modernity, led to the formation of new views on the nature of art in

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Orton, Fred. "'Postmodern', 'Modernism', and Art Education (English) 'Modernised'." Circa, no. 28 (1986): 62. http://dx.doi.org/10.2307/25557103.

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9

Dickerman, Leah. "Diaspora Modern." October, no. 186 (2023): 113–36. http://dx.doi.org/10.1162/octo_a_00501.

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Abstract Diaspora is a defining condition of the history of the past century, a prehistory to our disastrous moment in time and also the foundation of our political landscape. Yet it is notably absent in much art-historical discussion of modernism, despite the fact that the experiences of diaspora and migration are often embedded in the lives of modernist artists and other actors; in the formations, networks, and dispersals of modernist institutions and group affiliations; and in the deployment of characteristically modernist artistic strategies (temporal fragmentation, collage, montage, and t

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Clahassey, Patricia. "Modernism, Post Modernism, and Art Education." Art Education 39, no. 2 (1986): 44. http://dx.doi.org/10.2307/3193006.

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11

Ramírez Jaramillo, John Fredy. "Las apreciaciones estéticas de Tomás Carrasquilla." Estudios de Literatura Colombiana, no. 24 (August 11, 2011): 161–79. http://dx.doi.org/10.17533/udea.elc.9865.

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Resumen: Este ensayo ofrece un acercamiento a las concepciones estéticas más representativas de Tomás Carrasquilla relacionadas con la actividad creadora, la finalidad del arte, la crítica literaria, la noción de belleza y la reflexión sobre el arte cinematográfico de su época. Si bien parte de sus planteamientos estéticos surgen como una respuesta crítica al naciente modernismo en Colombia, se expondrán las evidencias por las cuales hay que convenir que la postura asumida por el autor antioqueño no puede interpretarse como una actitud de total rechazo hacia los postulados de dicha corriente.

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Scharf, Aaron. "Modernism; Photography; Art." History of Photography 13, no. 1 (1989): 95–102. http://dx.doi.org/10.1080/03087298.1989.10442171.

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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (2012): 337–70. http://dx.doi.org/10.1525/phr.2012.81.3.337.

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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultura

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Wulliger, Marilyn. "A Portrait of the Modernist: Seeing Modernism through Art." English Journal 81, no. 1 (1992): 35. http://dx.doi.org/10.2307/818336.

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Brown, Carl R. V. "A Portrait of the Modernist: Seeing Modernism through Art." English Journal 81, no. 1 (1992): 35–40. http://dx.doi.org/10.58680/ej19928174.

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16

Moore, Daniel. "Editor's Introduction: Modernism, Aesthetics, Historiography." Modernist Cultures 3, no. 2 (2008): 94–99. http://dx.doi.org/10.3366/e2041102209000355.

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Aesthetics is the reflexive construction of the concepts necessary for the comprehension of the stakes and meaning of art in the light of the history of the dominant art of the second half of the 19th century and the first half of the 20th century: modernism. The task of aesthetics is to vindicate modernist art's own claim to mattering, to being significant, indeed unavoidable, for our collective selfunderstanding of ourselves as denizens of modernity. (J. M. Bernstein)

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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.

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This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusi

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Shchekaleva, Olga V. "The purpose of non-classical art as a philosophical problem (based on the philosophy of V. S. Solovyov, S. N. Bulgakov and N. A. Berdyaev)." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 23, no. 3 (2023): 298–302. http://dx.doi.org/10.18500/1819-7671-2023-23-3-298-302.

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Introduction. In the modern world, the problem of the purpose of art remains relevant due to the emergence of various forms of non-classical art. Modernism and postmodernism differ from classical art, therefore it is inappropriate to transfer the purpose of classical art to these movements without a deep analysis. It seems reasonable for the analysis of non-classical art to consider it through the spectacles of Russian religious philosophy. Theoretical analysis. Representatives of the philosophy of unity and the representative of religious existentialism N. A. Berdyaev wrote about the purpose

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Matveeva, Alla, Roman Krasnov, Elena Atmanskykh, and Stanislav Bannykh. "Antirealism of new reality or art against personality: with the eyes of the philosophy." SHS Web of Conferences 72 (2019): 03051. http://dx.doi.org/10.1051/shsconf/20197203051.

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In the article, the authors provide an assessment of the modernism art, cultivated for decades, in terms of the possibilities of its social and ideological influence. It is argued that the ideologists of the bourgeoisie had to admit that Western art culture was at an impasse. The article analyzes the works of philosophers and artists, such as: Lenin, Schwartz, Nietzsche, Brooke, Leist, Meyer, Reed, Bergson, Lauterbach, Huxley, Weir, etc. Among the many concepts - the theory of "cultural circles", "cultural lag" and "cultural traditions"; Theory of Art Evolution - Professor Munroe; theory of so

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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.

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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combi

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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.

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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of hear

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Wang, Yiying. "The influence of contemporary art trend of thought on modernism design." Highlights in Art and Design 1, no. 1 (2022): 21–24. http://dx.doi.org/10.54097/hiaad.v1i1.1566.

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With the rapid development of modern society, art design is also constantly improving. In this pluralistic world, various trends of thought collide, absorb and merge with each other. This trend also influences the various changes of modernist design, this is the inevitable result of the development of Western society and art to a higher historical stage. Art Inheritance is inevitable in history, any art is constantly colliding with the previous art. This paper discusses the influence of contemporary art trend on modernism design based on a case study.

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Demchenko, Dariia. "«Ideology at Its Purest»: Whose modernism?" Text and Image: Essential Problems in Art History, no. 2 (2023): 126. http://dx.doi.org/10.17721/2519-4801.2023.2.09.

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In this review, I aim to analyse the catalogue «In the Eye of the Storm: Modernism in Ukraine, 1900–1930s». The project bearing the same name, for which the catalogue was prepared, commenced in the autumn of 2022 at the Thyssen-Bornemisza Museum (Madrid), essentially becoming the first extensive exhibition dedicated to the work of modernist artists in the territory of contemporary Ukraine since 2007. Modernism is an international phenomenon characterised by various movements and ideas, that incorporate local elements into art. However, post-Soviet states instrumentalised knowledge of modernism

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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.

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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's sh

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Monks, Aoife. "Bad Art, Quirky Modernism." Representations 132, no. 1 (2015): 104–11. http://dx.doi.org/10.1525/rep.2015.132.1.104.

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This essay considers the systems of value that undergird the employment of quirky objects in scholarship and argues that quirk historicism is another iteration of modernism in its attachment to estrangement and theatricality as modes of critique. In doing so, the essay asks why it is that “bad art” is so much easier to co-opt into scholarship when it’s safely in the past.

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Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.

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Haslam, Michael. "Modernism and Art Therapy." Canadian Art Therapy Association Journal 18, no. 1 (2005): 20–27. http://dx.doi.org/10.1080/08322473.2005.11432268.

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Brighton, Andrew. "Art: Francis Bacon's Modernism." Critical Quarterly 42, no. 1 (2000): 137–42. http://dx.doi.org/10.1111/1467-8705.00282.

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Papastergiadis, Nikos. "Modernism and Contemporary Art." Theory, Culture & Society 23, no. 2-3 (2006): 466–69. http://dx.doi.org/10.1177/026327640602300286.

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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art." MANUSYA 11, no. 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.

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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealis

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Moonie, Stephen. "Our Cherished Moments of Involuntary Realism: Charles Harrison, Modernism, and Art Writing." Arts 11, no. 1 (2022): 23. http://dx.doi.org/10.3390/arts11010023.

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In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the sp

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MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the tradit

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Jose, Antony, Berlin Grace VM, and D. David Wilson. "Contemporaneity of Modernism as an Aesthetic Innovation." International Research Journal of Multidisciplinary Scope 05, no. 01 (2024): 86–92. http://dx.doi.org/10.47857/irjms.2024.v05i01.0147.

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Modernism as a literary movement can be periodized from the point of literary history where postmodernism follows modernism. However, modernism as an aesthetic innovation was ever-present in so-called postmodernism and is present in the contemporary literary world. In other words, because of modernism’s open-ended nature as an aesthetic innovation as well as the essential presence of newness in the term, the contemporary is forced to rely on modernism as the frame that can help it define its own identity. Contemporary authors reveal their relationship with modernism and contemporary literature

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Henning, Moritz, Sally Below, Christian Hiller, and Eduard Kögel. "Encounters with Southeast Asian Modernism." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.

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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In

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Moreschi, Marcelo. "22 por 42: o paradigma da celebração." Remate de Males 33, no. 1-2 (2015): 255–71. http://dx.doi.org/10.20396/remate.v33i1-2.8636456.

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Usually the ten-year anniversaries of the Week of Modern Art are occasions to celebrate the so-called Brazilian modernist movement. The purpose of this article is to highlight what is at stake at such celebrations by examining The Modernist Movement, by Mário de Andrade, originally a speech presented on the 20th anniversary of the Week of Modern Art, in 1942. Mário de Andrades text not only offers the paradigmatic set of arguments used to promote the relevance of the Modernist Movement (a set of arguments in vogue on these occasions) but also articulates Brazilian modernism as a persuasive his

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Sluga, McKayla. "Art Film Writing in American Modernist Periodicals, 1910s–1930s." Journal of Modern Periodical Studies 14, no. 2 (2023): 159–84. http://dx.doi.org/10.5325/jmodeperistud.14.2.0159.

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ABSTRACT This article connects periodical and film studies to present a history of film criticism in the United States. Through modernist periodicals such as The Seven Arts and The Soil, the article traces film writing’s evolution from scattered articles in the 1910s to the creation of Experimental Cinema by 1930. Rediscovering these early film writings in relation to Experimental Cinema decenters trade journals and newspapers to emphasize developments outside of mainstream print. It also clarifies cinema’s historical role in American progressives’ projects of modernism in the twentieth centur

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Somers, Matthias, and Sami Sjöberg. "Reading Ray: Avant-Garde and Transnationalism in Interwar Britain." Modernist Cultures 16, no. 2 (2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.

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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period

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Koslowski, Peter. "Razón e historia. La modernidad del postmodernismo." Anuario Filosófico 27, no. 3 (2018): 969–89. http://dx.doi.org/10.15581/009.27.29838.

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The paper distinguishes between a free form of modernity and an ideological form of modernity, whereby the latter can also be called modernism. Free modernity aims at realising the modern, i.e. that which responds to the needs of the present and realises what corresponds to the state-of-the-art. Modernism as an ideology, however, believes in "the" ultimate modernism, in one final modern age of reason. The modernist Hegelian and Marxist philosophies of history and of dialectical metaphysics have come to an end. It demonstrates that we are living in a post-modern age that gives a new freedom for

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Szczecina, Ludmiła Zofia. "Modernism, Mysticism and the Pursuit of Freedom - Bringing the initial instinct of the Modernists to its fulfilment in the model of the Christian mystic." Language, Culture, Politics. International Journal 1 (December 9, 2021): 171–91. http://dx.doi.org/10.54515/lcp.2021.1.171-191.

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While one can certainly debate about the forms Modernism (in the artistic sense) manifested itself in and what actually qualified as Modernism, one cannot deny that the desire for freedom was one of its underlying tenets. In the 21st century it would seem however that the desire for freedom has not been satiated. In the following essay I will explore whether emancipating art from a moral authority achieved the freedom modernist artists so deeply desired and I will question whether severing himself from objective truth the artist was allowed to fully thrive. Comparing Modernist concept’s (Strea

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Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.

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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of p

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Bátorová, Mária. "Vzťah náboženstva a umenia v literatúre svetovej a slovenskej moderny." Slavia Occidentalis, no. 73/2 (June 14, 2018): 7–21. http://dx.doi.org/10.14746/so.2016.73.26.

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The study analyzes the relation between religion and art in the world, and in Slovak modernist literature. It also examines religion and art from the point of view of its scholarly reception in the context of European literature. It builds on the division of artists of religious orientation based on Bernhard Rang’s two types:a) Claudelian and b) Green-ian. A part of the study provides new insights into Slovak literary modernism. Despite the expectation that modernism would exclude Christian works of literature, the opposite happened:modernism tested Christian works of art and emphasized their

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McAvoy, Siriol. "‘I’ve Put a Yule Log on Your Grate’: Lynette Roberts’s ‘Naïve’ Modernism." Humanities 9, no. 1 (2019): 3. http://dx.doi.org/10.3390/h9010003.

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In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—con

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Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 191–209. http://dx.doi.org/10.14746/aq.2019.30.9.

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The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that i

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Hutchinson, John, and Brandon Taylor. "Modernism, Post-Modernism, Realism. A Critical Perspective for Art." Circa, no. 36 (1987): 49. http://dx.doi.org/10.2307/25557249.

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

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal

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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.

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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Poll

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Khachibabyan, Mane. "Modernism and Feminism Representations of Women in Modernist Art and Literature." WISDOM 1, no. 6 (2016): 118. http://dx.doi.org/10.24234/wisdom.v1i6.71.

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This article demonstrates the place and role of the image of women in modernist art and literature, mainly focusing on Impressionism and Post-impressionism. It discusses the unique works of modernist painters and writers (Marie Cassatt, Edgar Degas, Edouard Manet, Pablo Picasso and Virginia Woolf) to explore how modernist art and literature both defined, reflected and shaped gender roles. The article discourses on the representations of feminist views and gender inequality in the works of some modernist artists.

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Strelnikova, Larisa Yu, and Irina I. Tarasova. "Modernist mythologism of Vladimir Nabokov’s creative work (based on the material of the novels “Mary”, “The Gift”, “Invitation to a Beheading”)." Vestnik of Kostroma State University 28, no. 1 (2022): 98–104. http://dx.doi.org/10.34216/1998-0817-2022-28-1-98-104.

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The subject of research in the article is the early prose of Vlaimir Nabokov, the writer of the Russian diaspora, from the point of view of the mythologising of the creative process, which was a characteristic feature of the art of modernism. The study notes that Nabokov builds his texts as artistic mythology, giving art a sacred meaning. Unlike the ontological function of the ancient myth, mythologism in modernist literature is aimed at the aesthetic perception of reality. The writer intentionally mythologises his texts, saturating them with mythological codes, revealed in such writing techni

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”

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