Journal articles: 'Primitivism (art)'

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Povey, John, Robert Goldwater, and Katia Samaltanos. "Primitivism in Modern Art." African Arts 20, no. 3 (May 1987): 14. http://dx.doi.org/10.2307/3336470.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00389.x.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1995): 30. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00389.x.

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Minturn, Kent Mitchell. "Dubuffet, Art Brut and "Primitivism"." Critique d’art, no. 53 (November 26, 2019): 165–72. http://dx.doi.org/10.4000/critiquedart.53915.

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Thomas, Nicholas. "Art Against Primitivism: Richard Bell's Post-Aryanism." Anthropology Today 11, no. 5 (October 1995): 15. http://dx.doi.org/10.2307/2783186.

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DOY, G. "The Myth of Primitivism: Perspectives on Art." Journal of Design History 5, no. 1 (January 1, 1992): 95–96. http://dx.doi.org/10.1093/jdh/5.1.95.

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Folland, Thomas. "Readymade Primitivism: Marcel Duchamp, Dada, and African Art." Art History 43, no. 4 (June 13, 2020): 802–26. http://dx.doi.org/10.1111/1467-8365.12518.

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PRICE, SALLY. "“Primitivism” in 20th Century Art . WILLIAM RUBIN, ed." American Ethnologist 13, no. 3 (August 1986): 578a—580. http://dx.doi.org/10.1525/ae.1986.13.3.02a00190.

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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (August 1, 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 bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.

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Guenther, Mathias. "Contemporary Bushman Art, Identity Politics and the Primitivism Discourse." Anthropologica 45, no. 1 (2003): 95. http://dx.doi.org/10.2307/25606117.

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Turshen, Meredeth. "Out of Time, Out of Place: Primitivism and African Art." Journal of Arts and Humanities 6, no. 9 (September 18, 2017): 16. http://dx.doi.org/10.18533/journal.v6i9.1251.

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<p>This article debates the proposition that artistic production mirrors humanity’s maturation from primitive superstition to scientific rationality. This effort sits at the intersection of demography, political economy and aesthetics. According to traditional demographic theory, primitive peoples are caught in a poverty trap of high birth rates, a condition inimical to industrialization, well-planned urbanization, universal education, women’s emancipation and cultural production. The analysis focuses on three dynamics: the demographic effects of mass migration on creativity: the trajectories of declining populations and their places in cultural hierarchies; and slavery and colonialism’s reduction to penury of skilled artists in pre-industrial societies. The method interrogates self-reinforcing trends of the canons of demography, political economy and aesthetics and the resulting concurrence on the path of progress, which assumes that art is a reflection of liberal historical advancement. The overarching argument of the article is that by setting the criteria and suppressing alternative accounts of the history of African art, these canons narrow and misrepresent our global cultural legacy. Background: sub-Saharan African art is classified as “primitive” according to the canons of art history, demography and political economy. This label is problematic because it conveys faulty demographic assumptions about sub-Saharan Africa and reflects the ways in which theories of human progress reinforce analyses underlying the designation of primitive. The proposition advanced is that these canons narrow, suppress alternative accounts of the history of African art, and misrepresent our global cultural legacy.</p>

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Staszak, Jean-François. "Primitivism and the other. History of art and cultural geography." GeoJournal 60, no. 4 (2004): 353–64. http://dx.doi.org/10.1023/b:gejo.0000042971.07094.20.

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Severi, Carlos. "Primitivism without appropriation: Boas, Newman and the anthropology of art." Third Text 3, no. 6 (March 1989): 61–64. http://dx.doi.org/10.1080/09528828908576215.

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BARRETT, ROSS. "Picturing a Crude Past: Primitivism, Public Art, and Corporate Oil Promotion in the United States." Journal of American Studies 46, no. 2 (May 2012): 395–422. http://dx.doi.org/10.1017/s0021875812000084.

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This essay examines the first monument dedicated to the US oil industry, the Drake Memorial in Titusville, Pennsylvania (1899–1901), as an influential project of corporate self-representation. Commissioned by Standard Oil, the memorial shaped a public image for the petroleum industry that addressed concerns about the sustainability and social effects of oil capitalism, and established the key terms for a promotional discourse that would circulate throughout the twentieth century. This discourse, which I call “petro-primitivism,” reimagined the ultramodern oil industry as an extension of timeless practices rooted in an imagined archaic past. By shaping a primitivist spectacle that figured oil as an eternal component of the natural world and a primordial object of “human” endeavor, I argue, the Drake Memorial encouraged audiences to take the long view on oil: to adopt an expansive perspective that reconceived oil as a timelessly abundant element, and the boom-and-bust oil industry as an age-old venture. These tropes proved useful to the industry throughout the crises of the early twentieth century, reappearing in corporate displays and filtering into the rhetoric of industry advertising and publicity. Accordingly, I examine two later projects that appropriated the themes of petro-primitivism: the Sinclair Oil exhibit at the 1933–34 World's Fair, and Sun Oil's exhibit Oil Serves America at the Franklin Institute in Philadelphia (1953–c.1962). Echoing the earlier Drake Memorial, these displays employed strategies drawn from public art and civic architecture to organize collective experiences around the image of oil. By examining these popular exhibits alongside the Drake Memorial, I aim to offer a new account of the promotional culture of the early petroleum industry that explores the intersections between the traditional arts and industry publicity and illuminates the vital role that cultural representations played in accommodating twentieth-century Americans to the dynamic structures of petro-capitalism.

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Moody, David. "Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre." New Theatre Quarterly 11, no. 41 (February 1995): 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.

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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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Perchard, Tom. "Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz." Popular Music 30, no. 1 (January 2011): 25–45. http://dx.doi.org/10.1017/s0261143010000644.

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AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian visual art. Indeed Panassié used the term ‘primitive’ himself, and positively. But this article traces the ultra-conservative writer's intellectual and religious formation to show that, rather than contemporarynegrophilie, it was a religious and cultural heritage quite distant from the modern European encounter with blackness that first informed Panassié's primitivism. Although this re-reading does not aim to ‘rehabilitate’ someone who remains a troublesome and reactionary figure, the article nevertheless goes on to explore how, in his primitivist rejection of European modernism, Panassié sometimes pre-empts important arguments made by the postmodern jazz scholarship that would seem to marginalise the critic's historical contributions.

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Boli, Tom. "Primitivism and Identity in Latin America: Essays on Art, Literature, and Culture." Hispanic Research Journal 3, no. 2 (June 2002): 184–86. http://dx.doi.org/10.1179/hrj.2002.3.2.184.

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Carolyn Butler Palmer. "Renegotiating Identity: “Primitivism” in 20th Century Art as Family Narrative." Frontiers: A Journal of Women Studies 29, no. 2-3 (2008): 186–223. http://dx.doi.org/10.1353/fro.0.0018.

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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.

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Hosmer, B. "The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915." Ethnohistory 57, no. 3 (July 1, 2010): 476–78. http://dx.doi.org/10.1215/00141801-2010-010.

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Mitchell, Sebastian. "Celtic Postmodernism: Ossian and Contemporary Art." Translation and Literature 22, no. 3 (November 2013): 401–35. http://dx.doi.org/10.3366/tal.2013.0130.

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This article examines the depiction of Ossian in the works of four prominent contemporary artists: Calum Colvin, Gayle Chong Kwan, Geoff MacEwan, and Alexander Stoddart. Recent Ossianic artworks in terms of two significant and opposing definitions of the postmodern are discussed. On the one side, the approach of Jean Baudrillard stressed fabrication and imitation as the distinctive features of the postmodern aesthetic; on the other, Charles Jencks conceived of the postmodern as a revival of classical form. The essay demonstrates ways in which contemporary Ossianic art draws together both conceptions. It argues, furthermore, that Ossian has made a significant contribution to British art through the introduction of Celtic primitivism into more familiar forms of representation. It concludes by suggesting that the last twenty years have produced the most important visual interpretations of Ossian since the Romantic period.

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Stock, Lorraine Kochanske. "Civilization and Its Discontents: Cultural Primitivism and Merlin as a Wild Man in the Roman de Silence." Arthuriana 12, no. 1 (2002): 22–36. http://dx.doi.org/10.1353/art.2002.0061.

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Maroja, Camila. "The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice." Arts 8, no. 3 (August 29, 2019): 111. http://dx.doi.org/10.3390/arts8030111.

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During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

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Price, Sally, Frances S. Connelly, and Colin Rhodes. "The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725-1907." African Arts 29, no. 1 (1996): 18. http://dx.doi.org/10.2307/3337442.

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Wexler, Alice. "Autism and outsiderism: The art of George Widener." International Journal of Education Through Art 16, no. 1 (March 1, 2020): 83–99. http://dx.doi.org/10.1386/eta_00018_1.

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Abstract Until recently, Outsider Art has escaped the examination that has been given other colonialist labels, such as Orientalism and Primitivism. Contemporary artists, such as George Widener, who slip in between mainstream and Outsider artworlds, pose lingering questions about this category. As an autistic artist, Widener also upends the misrepresentations about the spectrum in both the artworld and art education. I suggest that although Widener does not serve as a representative of the autistic or Outsider Art communities, he does serve as an example of entrenched notions of art and disability in these worlds. In this article, I ask how labels might be discarded so that we can enjoy artists who tell us about the neuro-diverse interior of individuals. Removed from outwardly imposed categories, we might re-imagine art in society and art in schools.

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Megan Brandow-Faller. "Folk Art on Parade: Modernism, Primitivism and Nationalism at the 1908 Kaiserhuldigungsfestzug." Austrian Studies 25 (2017): 98. http://dx.doi.org/10.5699/austrianstudies.25.2017.0098.

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Szulakowska, Urszula. "Rose Farrell and George Parkin: Art history and “primitivism” in contemporary Australian performance photography." Continuum 8, no. 1 (January 1994): 395–405. http://dx.doi.org/10.1080/10304319409365658.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Logan, Peter Melville. "PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS." Victorian Literature and Culture 46, no. 1 (March 2018): 125–42. http://dx.doi.org/10.1017/s1060150317000353.

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In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art. Today the remark reads as gratuitous and insulting to readers, to Dickens, and to the other cultures Lewes stereotypes as savage. At the same time, the casual nature of the passage also suggests that it reflects commonly held beliefs about primitive life, beliefs we do not have but that Lewes and his readers took for granted. He was clearly safe in assuming such a body of common knowledge, for many other articles in theFortnightly Review(in which Lewes's article appeared in 1872) had similar references to primitivism. Reading through the journal issues of the time, the extent to which anthropological concepts had escaped the covers of books on primitive society and taken up residence in the pages of review essays on contemporary issues – from history, to life in the colonies, to life in Britain itself – is striking. In its print context, the comment about savages and art is less isolated and inexplicable than it is representative of a broad turn to the topic of primitivism in social commentary and analysis during the 1870s.

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Lentis, Marinella, and Nancy J. Parezo. "The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915. By Elizabeth Hutchinson." Museum Anthropology 34, no. 1 (March 2011): 78–79. http://dx.doi.org/10.1111/j.1548-1379.2010.01108_5.x.

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Ott, John. "The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915 by Elizabeth Hutchinson." Visual Resources 26, no. 4 (December 2010): 381–85. http://dx.doi.org/10.1080/01973762.2010.522396.

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Leah Dilworth. "The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915 (review)." Western American Literature 44, no. 3 (2009): 294–95. http://dx.doi.org/10.1353/wal.0.0047.

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Shingler, Katherine. "Mad Puns and French Poets: Visual-Verbal Punning and ‘l'art des fous’ in Apollinaire's Calligrammes." Nottingham French Studies 53, no. 1 (March 2014): 19–34. http://dx.doi.org/10.3366/nfs.2014.0070.

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This article examines the use of visual-verbal punning structures in Guillaume Apollinaire's calligrammes, or visual poems. It considers how Apollinaire's mobilization of these punning structures may have emerged out of an interest in ‘l'art des fous’ (art and creative writing by the mentally ill, in which punning was a recurring feature), in psychiatric discourses which insisted on a link between punning and irrationality, and in the work of Jean-Pierre Brisset, whose nonsensical, pun-based theories of evolution made him a living embodiment of that link. It argues that for Apollinaire, the calligramme was an attempt to represent the structures of thought – unfettered, irrational thought – which could not be captured by linear discourse. The article situates this aspect of the calligrammes within the broader context of Apollinaire's primitivism, as expressed in his art criticism, before considering the continuity between Apollinaire's engagement with ‘l'art des fous’ and that of Breton, exploring the ethical implications of an aestheticizing approach to the ‘mad’ or ‘primitive’ work of art.

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Robinson, Joyce Henri. "The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725-1907. Frances S. Connelly." Studies in the Decorative Arts 4, no. 1 (October 1996): 130–33. http://dx.doi.org/10.1086/studdecoarts.4.1.40662515.

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Sporton, Gregory. "Dance Culture and Statuary Politics: Chiang Kai-Shek and the Myth of Primitivism." New Theatre Quarterly 20, no. 3 (August 2004): 280–85. http://dx.doi.org/10.1017/s0266464x04000168.

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Dance is often assumed to have universal values and to manifest a spirit of freedom, especially individual freedom. It is also the case that such freedom is perceived to be deeply rooted in the condition of humanity. In this article Gregory Sporton shows how these assumptions can mislead us about the basis on which dance operates. By citing the body as the original manifestation of expression, and linking dance practice to primitive experience, a sentimental picture of ourselves as dancers emerges. Taking dance practice in Taiwan as an example, the author shows how this ‘naturalist argument’ can be exploited by a political culture and in doing so divert questions of identity. For the visiting observer, dance appears to evidence political culture and social aspiration, identities that are fixed in the present rather than the archaic past. Gregory Sporton has had a substantial performing career in ballet, contemporary dance, opera, and performance art. He is Head of the School for Performance and Moving Image at the University of Central England.

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Spinner. "Else Lasker-Schüler and Uri Zvi Greenberg in “The Society of Savage Jews”: Art, Politics, and Primitivism." Prooftexts 38, no. 1 (2020): 60. http://dx.doi.org/10.2979/prooftexts.38.1.03.

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Pireddu, Nicoletta. "Handing out beauty: Gabriele D’Annunzio’s ritual squanderers." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 16, 2017): 413–31. http://dx.doi.org/10.1177/0014585817698400.

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D’Annunzio’s approach to beauty has largely unnoticed connections with the anti-modern anthropological discourse on symbolic economy that at the turn of the 20th century begins to reject instrumentality in life and representation. From the cultural primitivism of his time, D’Annunzio develops a consistent reflection on the aesthetic and ethical significance of ritual exchange that informs his search for a higher morality through art. Focusing on the nexus of art, giving, and temporality, this article addresses the intuitions and the contradictions of unconditional expenditure in D’Annunzio’s works, analyzing the leitmotif of the hand as an ambivalent carrier of lavishness and power. From Trionfo della morte to Il fuoco, from Le vergini delle rocce to his autobiographical writings, the implications of D’Annunzio’s argument contribute to an extended theoretical debate that interrogates the role of value in aesthetic and social practices—from Nietzsche, Mauss, and Bataille to Heidegger and Derrida. Can art’s luxurious dissipation truly break the circle of speculation and restitution?

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Erwin, Andrew. "Rethinking Nietzsche in Mann'sDoktor Faustus: Crisis, Parody, Primitivism, and the Possibilities of Dionysian Art in a Post-Nietzschean Era." Germanic Review: Literature, Culture, Theory 78, no. 4 (January 2003): 283–99. http://dx.doi.org/10.1080/00168890309597478.

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Duarte, Miguel De Ávila. "A obra de…: cânone, apropriação, diáspora e a questão do nome na Odisseia vácuo, de Renato Negrão / The Work By...: Canon, Appropriation, Diaspora and the Question of Naming in Renato Negrão’s Odisseia Vácuo." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 26. http://dx.doi.org/10.17851/2358-9787.30.2.26-53.

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Resumo: Tomando como ponto de partida o poema-livro Odisseia Vácuo do performer, artista plástico e poeta contemporâneo Renato Negrão, o presente artigo pretende discutir questões relativas ao cânone artístico-literário, as possíveis relações entre a apropriação como procedimento de escrita e de criação e a apropriação cultural no contexto da diáspora africana e, por fim, como tais questões interferem nos próprios atos de nomeação. Para tanto, são construídos uma série de diálogos: com a epopeia fundadora de Homero; com o modernismo antropofágico; com a literatura de apropriação contemporânea estadunidense; com as propostas de Wölfflin e Valéry de histórias da arte e da literatura “sem nomes”; com o enredamento do primitivismo vanguardista e da invenção da colagem no primeiro cubismo; com a crítica contemporânea da apropriação cultural. Palavras-chave: escrita de apropriação; apropriação cultural; poesia brasileira contemporânea.Abstract: Taking as a starting point the poem-book Odisseia Vácuo (Vacuum Odissey), by the performer, visual artist and contemporary poet Renato Negrão, this article intends to discuss questions related to the literary-artistic canon, the possible relations between appropriation as writing and creation process and cultural appropriation in the context of African diaspora, and lastly, the way in which those questions interfere in the very acts of naming. For this purpose, I build dialogues with Homer’s founding epic, with Brazilian anthropophagic modernism, with American contemporary appropriative literature, also with Wölfflin’s and Valéry’s proposals of “nameless” art and literary histories and with the intertwining of avant-gardist primitivism and collage creation in early Cubism, as well as the contemporary criticism of cultural appropriation.Keywords: appropriative writing; cultural appropriation; Brazilian contemporary poetry.

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Spinner, Samuel J. "Plausible Primitives: Kafka and Jewish Primitivism." German Quarterly 89, no. 1 (January 2016): 17–35. http://dx.doi.org/10.1111/gequ.10253.

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Calo, Mary Ann. "“Seeing” the Harlem Renaissance: Observations on the Position of Visual Art in Harlem Renaissance Studies." Prospects 27 (October 2002): 427–45. http://dx.doi.org/10.1017/s0361233300001277.

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The matrix of ideas and questions that inform scholarship on the Harlem Renaissance as remained fairly consistent across several generations. For example, among the more commonly asked questions over the years have been: Was the Harlem Renaissance modernist or even modern in worldview or artistic form? Did it signal in any real sense the rebirth of a people or was it simply the invention of an intellectual elite with a naive faith in the transformative power of art? What was the relation of the Harlem Renaissance to American cultural and racial ideology? To what extent can we think of it as chronologically or geographically determined, that is, did it begin and end in Harlem in he 1920s? What is the role in this renaissance of an enlightened consciousness about Africa, its people, its art, and its culture? To what degree can we regard the Harlem Renaissance as symptomatic of an emergent black nationalism or move toward cultural separatism within America or the African diaspora? What are we to make of the interracial dynamics within the Harlem Renaissance? How are we to understand the problematic fascination with primitivism and folk culture that preoccupied not only participants in the Harlem Renaissance but also many of its subsequent critics? How did the Harlem Renaissance expand our notions of black subjectivity and identity? What was its relation to the sociopolitical agendas of the early 20th century? And, finally, did it succeed or did it fail? This list is by no means exhaustive, but in the decades that

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Britton, Celia. "How to be Primitive: Tropiques, Surrealism and Ethnography." Paragraph 32, no. 2 (July 2009): 168–81. http://dx.doi.org/10.3366/e0264833409000510.

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The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility (and are encouraged in this by French surrealists), elsewhere their attitude to such supposed examples of primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction.

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Vezin, François. "Art, mondialisation, primitivisme." Studia Phaenomenologica 3, no. 9999 (2003): 269–71. http://dx.doi.org/10.7761/sp.3.s1.269.

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Elliott, Kate. "Elizabeth Hutchinson. The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915. Durham, NC: Duke University Press, 2009. xv+304 pp.; 88 illustrations, references, index. $89.95." Winterthur Portfolio 45, no. 1 (March 2011): 91–92. http://dx.doi.org/10.1086/659051.

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Scherbinina, Olga I. "Northern Cheyenne Exodus and Negroes Lynching: Historical Novels of Howard Fast in the USSR." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 217–26. http://dx.doi.org/10.22363/2312-9220-2021-26-2-217-226.

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The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.

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Viatte, Germain. "Primitivisme et art moderne." Le Débat 147, no. 5 (2007): 112. http://dx.doi.org/10.3917/deba.147.0112.

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Muñoz Jiménez, María Teresa. "TIERRA PRIMITIVA. FLOTACIONES Y ABATIMIENTOS." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 16–27. http://dx.doi.org/10.12795/ppa.2020.i23.01.

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Desde finales del siglo XIX algunos pintores, como el francés Paul Gauguin o el alemán Max Pechstein, habían sentido la necesidad de trasladarse físicamente a los lugares en que vivían pueblos primitivos, atraídos por la fuerza de su arte. No contentos con observar las producciones de estas culturas llamadas “primitivas” en los museos etnográficos, muchos artistas de las vanguardias europeas del siglo XX se lanzaron a un conocimiento directo de estas, emprendiendo largos viajes para compartir incluso su modo de vida. El primitivismo fue un ingrediente esencial en la formación de nuevo arte de vanguardia y en su defensa se pronunció de una manera inequívoca una figura tan relevante en la historiografía del arte como Wilhelm Worringer en 1911. En los años cuarenta, el escultor Jorge Oteiza viajó a los Andes colombianos en busca de una estatuaria original, el antropólogo Claude Lévi-Strauss publicó sus obras más importantes sobre las estructuras sociales de las culturas primitivas en los años sesenta y por esos mismos años el arquitecto Aldo van Eyck viajó y posteriormente escribió sobre el pueblo dogón. Todos estos autores se refieren a los mitos desarrollados en estas culturas, que se relacionan directamente con la tierra y con un eventual abatimiento del cielo sobre la tierra. Este escrito trata algunos de los modos en que se concreta esta relación entre lo que flota allá arriba y lo que sucede sobre la superficie del terreno, una relación de enorme importancia para la arquitectura y el arte de nuestro tiempo.

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Alonso Recarte, Claudia. "Myths of Primitiveness: A Barthean Interpretation of Rhetorical Devices in Early Jazz Criticism." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 195. http://dx.doi.org/10.14198/raei.2013.26.14.

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Ever since jazz began to make an impact in white aesthetic culture in the late 1910s and 1920s, critics, regardless of whether they celebrated or condemned the music, enmeshed their discourse with images of exoticism, noble savageness, and racial brutishness. As Jazz Studies emerged as an academic discipline, scholars have shown increasing interest in exposing these images in order to illustrate the pervading racist sentiment inscribed within white perception of the jazz idiom and also to establish the connections between jazz and the modernist obsession with primitivism. The aim of this paper is to contribute further study to the intricacies of primitivism through a close examination of the rhetorical devices enabling the subsistence and efficiency of the white supremacy’s mystification of jazz. In this way, we may better comprehend how the primitivist construct is not a matter of an ideology’s conglomeration of superficial images, nor of mere associations between the music and rituals. These features are certainly operative, but by approaching the metaliguistic techniques implicit in what Roland Barthes calls the bourgeois myth, jazz primitiveness can be conceived as an act of colonization that begins and is self-nurtured by patterns of speech.

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Павлова, Анна Леонидовна. "Little Known Russian Church Wooden Sculpture Works of 18th-19th Centuries." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 93–109. http://dx.doi.org/10.31802/2658-5111-2020-1-2-93-109.

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Во время экспедиций по программе Свода памятников выявляется довольно много церковной скульптуры. Однако деревянная пластика рассеяна по разным томам Свода, а краткие тексты и отсутствие достаточного числа фотографий не позволяют судить о характере найденных произведений. В сложившихся условиях возрастает необходимость отдельной статьи, специально посвящённой неизвестным ранее скульптурам. Основная часть произведений, приведённых в статье, находится в храмах Владимирской, Рязанской, Тверской и Калужской областей. Практически все они впервые вводятся в научный оборот. Изучение данной скульптуры расширяет представление о развитии не только церковного, но всего отечественного искусства Нового времени. Публикуемые памятники отражают разнообразные стилистические направления, технические и художественные приёмы мастеров Центральной России, несмотря на общность процессов искусства в России того времени. Одной из основных задач публикации стало стремление внести ясность в многообразие направлений регионального искусства, что может способствовать более точной атрибуции. Среди богатства направлений условно выделяются несколько основных, зачастую связанных между собой и пронизанных древнерусскими реминисценциями, - тяготеющее к примитиву, барочное и классицистическое. В статье приводятся шесть Распятий и три Усекновенные главы Иоанна Предтечи, каждая из которых по-своему уникальна и заслуживает отдельного исследования в будущем. Знакомство с данными памятниками русского резного искусства даёт возможность провести параллели с широко известными произведениями. In the course of the expeditions undertaken within the Code of monuments project many works of church sculpture were revealed. However, the plastic arts pieces are dispersed over the different volumes of the Code, moreover, the short descriptive texts and the lack of sufficient number of photographs do not allow us to properly estimate the significance of the works found. This situation necessitates a special paper devoted to the previously unknown sculptures to be prepared. The main part of the works described in the paper is from the churches of Vladimir, Ryazan, Tver and Kaluga regions. Practically all of them are introduced for scientific use for the first time. The study of the sculptures broadens our knowledge about the development not only of the church art but of the whole Russian art of New time. The monuments being published reflect different stylistic trends, the technical and artistic devices of the Central Russia masters despite the common character of the artistic processes in Russia of that time. One of the major tasks of the publication is striving to put in order the regional art trends diversity that is to provide for the more exact attribution. Within the wealth of stylistic trends it is possible to conditionally distinguish several basic ones - those next to primitivism, in baroque and classicistic - often closely associated with each other and all permeated with the Old Russian reminiscences. There are six Crucifixions and three Heads of St. John the Forerunner described in the paper each of which is unique in its own way and deserves a separate study in future. Getting to know the introduced monuments of the Russian carved arts makes it possible to draw a parallel between them and well-known works of art.

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Journal articles on the topic 'Primitivism (art)'

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