Lucianaferreiracosta.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Lucianaferreiracosta.Pdf Universidade Federal de Juiz de Fora Programa de Pós-Graduação em Artes, Cultura e Linguagens Mestrado em Artes, Cultura e Linguagens Luciane Ferreira Costa A FORMA QUE FALA DO SEU TEMPO: Achille Perilli no acervo do MAMM Juiz de Fora 2016 Luciane Ferreira Costa A FORMA QUE FALA DO SEU TEMPO: Achille Perilli no acervo do MAMM Dissertação apresentada ao Programa de Pós- Graduação em Artes, Cultura e Linguagens do Instituto de Artes e Design da Universidade Federal de Juiz de Fora, como requisito parcial para obtenção do grau de Mestre. Área de concentração: Teoria e Processos Interdisciplinares Linha de pesquisa: Arte, Moda: História e Cultura. Orientadora: Prof.ª Drª Raquel Quinet de Andrade Pifano. Juiz de Fora 2016 Ficha catalográfica elaborada através do programa de geração automática da Biblioteca Universitária da UFJF, com os dados fornecidos pelo(a) autor(a) Costa, Luciane Ferreira. A Forma que fala do seu tempo : Achille Perilli no acervo do MAMM / Luciane Ferreira Costa. -- 2016. 192 f. : il. Orientadora: Raquel Quinet Pifano Coorientadora: Maria Lúcia Bueno Dissertação (mestrado acadêmico) - Universidade Federal de Juiz de Fora, Instituto de Artes e Design. Programa de Pós Graduação em Artes, Cultura e Linguagens, 2016. 1. Achille Perilli. 2. Murilo Mendes. 3. Arte Moderna. 4. Crítica de arte. I. Pifano, Raquel Quinet, orient. II. Bueno, Maria Lúcia, coorient. III. Título. Ao meu marido Gian Paolo Bastiani, meu amor, meu companheiro, dedico. AGRADECIMENTOS Aos meus pais, Sérgio e Maria José pelos ensinamentos de vida que me proporcionam. Ao meu marido Gian Paolo Bastiani pela constante cumplicidade e apoio nas traduções. À professora e orientadora Drª Raquel Quinet Pifano pelas orientações e confiança no meu trabalho. Aos Professores do Programa de Pós-Graduação Artes, Cultura e Linguagens pelas preciosas aulas que alimentaram meu universo do saber tornando-me mais apta ao duro trabalho dissertativo. Ao Prof.º Dr.Gilton Monteiro pela participação com propriedade da qualificação deste trabalho. À Prof.ª Drª Renata Zago pelos preciosos conselhos na qualificação e pela participação da defesa deste trabalho. Ao Prof.º Dr. Rodrigo Vivas por aceitar o convite em participar da defesa deste trabalho. Ao artista Achille Perilli, a sua esposa Lucia Latour e a sua filha Nadja Perilli pela receptividade, disponibilidade e atenção. Às secretárias responsáveis pela Pós-Graduação Artes, Cultura e Linguagens: Lara Velloso e Flaviana, pela constante atenção e disponibilidade. À Coordenação do Mestrado Artes, Cultura e Linguagens pela atenção e disponibilidade. Aos funcionários da Biblioteca do Instituto de Arte e Design pela constante atenção. Aos funcionários da Biblioteca da UFJF pela constante atenção. Aos funcionários do arquivo do Museu de Arte Murilo Mendes - MAMM pela disponibilidade de dados, em especial ao Valtencir, pela sua atenção e interesse pelo trabalho. Ao Arquivo Documental do Museu de Arte Moderna de Roma disponibilização de dados. Ao MASP pela atenção e disponibilização de dados. Ao Arquivo Histórico Wanda Svevo da FBSP pela disponibilização de dados. À Claudia Bastiani pela atenção em enviar os catálogos do artista da Itália. Aos meus irmãos pela presença e confiança sempre. Aos meus amigos pela presença de espírito, confiança e estímulo. Aos colegas do curso do Programa de Pós-Graduação Artes, Cultura e Linguagens, pela aprendizagem que me proporcionaram e pela amizade e cumplicidade nos momentos mais difíceis. A todos que não citei explicitamente, mas que, de alguma forma contribuíram para a realização deste trabalho. [...] Cada arte tem suas raízes em seu tempo, mas a arte superior não é apenas um eco e um espelho dessa época ela possui, além disso, uma força profética que se estende longe e muito profundamente no futuro." W. Kandinsky A FORMA QUE FALA DO SEU TEMPO: Achille Perilli no acervo do MAMM RESUMO O objetivo principal deste trabalho foi investigar a produção artística de Achille Perilli (1927-) para entendermos a importância de suas obras presentes na coleção de arte moderna do poeta Murilo Mendes (1901-1975), e a relação entre os dois. Esta coleção de arte pertence ao acervo do Museu de Arte Moderna Murilo Mendes da Universidade Federal de Juiz de Fora (MAMM/UFJF). O Acervo de arte modernada em questão é composto por obras de diversos artistas nacionais e internacionais, contando com significativa representação de vinte e cinco artistas italianos, dentre os quais Achille Perilli, um dos mais importantes protagonistas da arte moderna italiana no imediato pós- Segunda Guerra, fundador do Gruppo Forma1 em 1947. Perilli é um artista romano, pesquisador da forma no espaço, sua poética se afirma no abandono absoluto de qualquer referência ao real. A sua pesquisa orientou-se para o alcance da forma enquanto uma compreensão lógico-estrutural ou mesmo ilógico-estrutural (termos do artista), sendo para ele como um ato de pura espacialização. A presença desse artista na coleção de Murilo Mendes permite-nos conhecer e ponderar sobre as experiências da arte concreta de filiação italiana e, especialmente, a proximidade destas experiências com o pensamento poético de Murilo Mendes. O poeta é natural de Juiz de Fora, e viveu por dezoito anos em Roma onde lecionou e atuou como poeta, ensaísta e crítico de arte. Ele tinha 56 anos quando se transferiu para a Itália definitivamente, onde viveu até o fim de sua vida, vindo a falecer em Portugal. Achille Perilli foi amigo do poeta, uma amizade que durou para sempre. Palavras-chave: Achille Perilli; Murilo Mendes; Arte Moderna; Crítica de Arte. THE FORM TO SPEAK OF THIS TIME: Achille Perilli in MAMM' s collection ABSTRACT The main objective of this study was to investigate the artistic production of Achille Perilli (1927-) to understand the presence and importance of his works in the modern art collection of the poet Murilo Mendes (1901-1975). This art collection now belongs to the Museum of Modern Art Murilo Mendes of Universidade Federal de Juiz de Fora (MAMM / UFJF).The moderna Art Collection in question, consists on works of several national and international artists, with significant representation of twenty-five Italian artists, among them Achille Perilli, one of the most important protagonists of Italian modern art in the immediate post- World War II , and founder of Gruppo Forma1 in 1947. Perilli is a Roman artist, researcher of form in space, his poetic stated in absolute abandonment of any reference to the real. His research was oriented to the achievement of the way while a logical-structural or even illogical-structural understanding (terms of the artist), and for him as an act of pure spatiality. The presence of this artist in the collection of Murilo Mendes, allows us to know and reflect on the experiences of concrete art of Italian parentage, and especially the proximity of these experiences with the poetic thought of Murilo Mendes. The poet was born in Juiz de Fora, and lived for eighteen years in Rome where he taught and served as poet, essayist and art critic. He was 56 years old when he moved to Italy permanently, where he lived until the end of his life, even though he died in Portugal. Achille Perilli was a friend of the poet. A friendship that lasted forever. Keywords: Achille Perilli; Murilo Mendes; Modern Art; Art criticism. LISTA DE ILUSTRAÇÕES Figura 1 - Enrico Prampolini, Ritratto di F.T. Marinetti .......................................................... 25 Figura 2 - Romolo Romani, Pazzia .........................................................................................26 Figura 3 - Giacomo Balla Velocità Astratta + rumore ...........................................................27 Figura 4 - Alberto Magnelli, Peinture ....................................................................................28 Figura 5 - Carlo Belli Composizione K11 ................................................................................33 Figura 6 - Achille Perilli, Il Pont ............................................................................................42 Figura 7 - Praga, I ponti ..........................................................................................................42 Figura 8 - Inaugurazione della mostra Arte astratta e concreta in Italia ...............................45 Figura 9 - Achille Perilli, L'ireneo taciturno .........................................................................46 Figura 10 - Il Gruppo Forma 1, 1947.......................................................................................47 Figura 11 - Primeira página da Revista Forma 1, 1947...........................................................48 Figura 12 - Achille Perilli Paesaggio astratto .........................................................................50 Figura 13 - Achille Perilli e la Galleria L'Age d'Or .............................................................. 52 Figura 14 - Achille Perilli, Mela alla finestra ..........................................................................57 Figura 15 - Mario Sironi, Paesaggio urbano, 1924 .................................................................57 Figura 16 - Kandinsky, Punte nell' arco................................................................................. 60 Figura 17 - Atelier de Achille Perilli .......................................................................................67 Figura 18 - Achille Perilli Una parabola sociologica .............................................................68 Figura 19 - Achille Perilli, Il ratto d'europa
Recommended publications
  • 6. Poesia Del Futurismo: Marinetti, Folgore E Soffici Il Paroliberismo E Le Tavole Parolibere Futuriste
    6. Poesia del futurismo: Marinetti, Folgore e Soffici Il paroliberismo e le tavole parolibere futuriste PAROLIBERISMO = parole in libertà → è uno stile letterario introdotto dal Futurismo in cui: le parole che compongono il testo non hanno alcun legame grammaticale-sintattico fra loro le parole non sono organizzate in frasi e periodi viene abolita la punteggiatura i principi e le regole di questa tecnica letteraria furono individuati e scritti da Marinetti nel "Manifesto tecnico della letteratura futurista" dell' 11 maggio 1912 TAVOLE PAROLIBERE: La tavola parolibera è un tipo di poesia che visualizza il messaggio o il contrario del messaggio anche con la disposizione particolare grafico-tipografica di lettere, parole, brani di testi, versi o strofe. (tradizione lontana di Apollinere) FILIPPO TOMMASO MARINETTI (1876-1944) Fu un poeta, scrittore e drammaturgo italiano. È conosciuto soprattutto come il fondatore del movimento futurista, la prima avanguardia storica italiana del Novecento. Nacque in Egitto, trascorse i primi anni di vita ad Alessandria d'Egitto. L'amore per la letteratura emergeva dagli anni del collegio: a 17 anni fondò la sua prima rivista scolastica, Papyrus La morte di suo fratello minore era il primo vero trauma della vita di Marinetti, che dopo aver conseguito la laurea a Genova, decise di abbandonare la giurisprudenza e scelse la letteraratura. Dopo alcuni anni aveva un altro grave lutto familiare: morì la madre, che da sempre lo incoraggiava a praticare l'arte della poesia. Le sue prime poesie in lingua francese, pubblicate su riviste poetiche milanesi e parigine, influenzavano queste poesie Mallarmé e Gabriele D’Annunzio e componeva soprattutto versi liberi di tipo simbolista Tra il 1905 e il 1909 diresse la rivista milanese Poesia.
    [Show full text]
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Aeropittura (Aeropainting) Watercolour, with Touches of Silver Pen, with Framing Lines in Green Ink, on Paper Laid Down Onto a Black Card (The Cover of a Notebook?)
    Domenico (Mino) DELLE SITE (Lecce 1914 - Rome 1996) Aeropittura (Aeropainting) Watercolour, with touches of silver pen, with framing lines in green ink, on paper laid down onto a black card (the cover of a notebook?). Signed with monogram, inscribed and dated DSte FUTURISTA / 1932/ LF/ X in white gouache on the backing card, below the image. Titled AERO/ PITTURA on a separate sheet of paper cut out and pasted onto the lower right of the image. Further inscribed Delle Site Domenico / Alunno 4oCorso on the backing card. 93 x 103 mm. (3 5/8 x 4 1/8 in.) [image, at greatest dimensions]. 241 x 175 mm. (9 1/2 x 67/8 in.) [backing card] In September 1929 the Futurist theorist and founder Filippo Tomasso Marinetti published an article entitled ‘Perspectives of Flight and Aeropainting’ in the Gazzetta del Popolo in Turin, signed by Giacomo Balla, Fortunato Depero, Enrico Prampolini and several other Futurist painters. Republished in a revised and more complete version in 1931, the text served as a manifesto of the nascent branch of Futurism known as aeropittura, or Futurist aeropainting: ‘We Futurists declare that: 1. The changing perspectives of flight are an absolutely new reality that has nothing to do with the traditional reality of terrestrial perspectives. 2. The elements of this new reality have no fixed point and are built out of the same perennial mobility. 3. The painter cannot observe and paint unless he experiences the same speed as these elements. 4. Painting this new reality from the air imposes a profound contempt for detail and a need to summarize and transfigure everything…7.
    [Show full text]
  • Futurism's Photography
    Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se.
    [Show full text]
  • Indice Generale Aggiornato Al 25.11.2020
    BIBLIOTECA BOCCIONI Indice generale 1 - L'opera completa di Boccioni, presentazione di Aldo Palazzeschi (apparati critici e filologici di Gianfranco Bruno), editore Rizzoli Editore Milano, 1969, formato 24x31, pag. 120. 2 - Boccioni - Catalogo completo, Giorgio Verzotti, editore Cantini Editore, 1989, formato 15,5x21, pag. 159. 3 - Umberto Boccioni, Disegni 1907-1915 (dalle civiche raccolte d'arte di Milano), editore Nuove Edizioni Gabriele Mazzotta srl, 1990, formato 24x22,5, pag. 96. 4 - Umberto Boccioni - Catalogo ragionato delle incisioni, degli ex libris, dei manifesti e delle illustrazioni, Paolo Bellini, editore Silvana Editoriale spa, 2004, formato 23x28, pag. 207. 5 - Boccioni - Catalogo generale, Maurizio Calvesi - Alberto Dambruoso, editore Umberto Allemandi Torino, 2016, formato 25x34,5, pag. 575. 6 - Boccioni - Incisioni e disegni (scelti e annotati da Maurizio Calvesi), editore La Nuova Italia Editrice, 1973, formato 12x20, pag. 92. 7 - Le origini romagnole di Boccioni e la scultura omaggio di Arnaldo Pomodoro, Guido Ballo, editore Nuove Edizioni Gabriele Mazzotta Milano, 1984, formato 20x20, pag. 120. 8 - Boccioni, Gabriella Di Milia, Art dossier, editore Giunti Editoriale Firenze, 1998, formato 20,5x28,5, pag. 50. 9 - Umberto Boccioni - Diari, a cura di Gabriella Di Milia, editore Abscondita Milano, 2003, formato 13x22, pag. 184. 10 - Umberto Boccioni - Disegni e Incisioni della Galleria Nazionale di Cosenza, a cura di Nella Mari, consulenza scientifica di Maurizio Calvesi, editore Silvana Editoriale Milano, 2003, formato 23x28, pag. 144. 11 - Boccioni - I classici dell'arte - Il Novecento, presentazione di Aldo Palazzeschi, editore Rizzoli Gruppo Skira, 2004, formato 17x21, pag. 191. 12 - Boccioni - Pittore scultore futurista, a cura di Laura Mattioli Rossi, editore Skira Editore Milano, 2006, formato 24x28, pag.
    [Show full text]
  • Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris
    Caffeina e vodka Italia e Russia: futurismi a confronto Claudia Salaris Il viaggio di Marinetti in Russia Negli anni eroici del futurismo il fondatore Filippo Tommaso Marinetti era noto con il soprannome di “Caffeina d’Europa” per l’energia con cui diffondeva la religione del futuro da un paese all’altro. Uno dei suoi viaggi memorabili è quello in Russia all’inizio del 1914 1. Invitato a tenere un ciclo di conferenze a Mosca e a Pietroburgo, Il poeta ha accettato con entusiasmo, pensando a un patto d’unità d’azione con i fratelli orientali. Infatti nella terra degli zar il futurismo è nato con caratteristiche proprie,ma è sempre un parente stretto del movimento marinettiano. Nelle realizzazioni dell’avanguardia russa non sono pochi gli echi delle teorie e invenzioni del futurismo marinettiano. Ma, al contrario degli italiani che formano una specie di partito d’artisti omogeneo, i russi sono sparsi in diversi gruppi. Nel 1910 è uscita a Pietroburgo l’antologia Il vivaio dei giudici , a cui hanno collaborato, tra gli altri, i fratelli David e Nikolaj Burljuk, Elena Guro, Vasilij Kamenskij, Viktor Chlebnikov. A costoro presto si sono uniti Vladimir Majakovskij, Benedikt Livshich, Alexandr Kruchënych e alla fine del 1912 il gruppo, che intanto ha assunto il nome di Gileja, pubblica il volume Schiaffo al gusto corrente , che nel titolo rivela la matrice marinettiana, ricalcando il “disprezzo del pubblico” promulgato dal poeta italiano. Il libro collettivo contiene un editoriale-manifesto in cui i gilejani, rifiutando il passato e le accademie, esortano i giovani a “gettare Pushkin, Dostoevskij, Tolstoj, ecc.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Futurism-Anthology.Pdf
    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
    [Show full text]
  • Courses of Instruction
    Courses of Instruction Course Enrollment Courses numbered 200-299 are sometimes open to qualified undergraduate students who have received permission of the instructor and the director of graduate studies. Undergraduate students are not permitted in any courses above 300. Double numbers separated by a hyphen indicate that credit is contingent upon completion of both courses. Double numbers separated by a comma indicate that although the course is a year-long course, credit may be received for either course or both courses. The following symbols, suffixed to course numbers, identify the small group learning experiences: S, seminar; P, preceptorial; T, tutorial; D, discussion section. The L suffix indicates that the course includes laboratory experience. C-L: denotes a course that is cross-listed or a program under which a course is listed. African and African-American Studies (AAAS) Professor Gaspar, Director (408B Old Chemistry Building); Professors Holloway, Payne, and Powell; Associate Professor Lubiano; Assistant Professor Daniels; Assis- tant Professor of the Practice el Hamel; Research Professor Giddings The African and African-American Studies Program (AAASP) offers a certificate in African and African-American studies. Students enrolled in doctoral programs and in the Master of Arts in Liberal Studies (MALS) program are eligible and may work concurrently with their departments to satisfy the requirements for a certificate in African and African-American studies. The curricular format is a trifold course of study that includes coursework, teaching, and research. The award of a graduate certificate is carried on the student’s official transcript upon completion of the program. Students enrolled in the graduate program are eligible to apply for AAASP-sponsored teaching assistantships for an undergraduate course in their department or for the program’s introductory course for undergraduates.
    [Show full text]
  • Pushkin and the Futurists
    1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed.
    [Show full text]
  • Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)
    Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York].
    [Show full text]
  • Photography in the Modern Era
    PHOTOGRAPHY IN THE MODERN ERA EUROPEAN DOCUMENTS AND CRITICAL WRITINGS, 1913-1940 EDITED AND WITH AN INTRODUCTION BY CHRISTOPHER PHILLIPS THE METROPOLITAN MUSEUM OF ART/APERTURE NEW YORK CONTENTS Introduction xi FRANCE JEAN COCTEAU An Open Letter to M. Man Ray, American Photographer (1922) 1 TRISTAN TZARA Photography Upside Down (1922) 4 ROBERT DESNOS The Work of Man Ray (1923) 7 MAN RAY Deceiving Appearances (1926) 11 FLORENT FELS Preface to Metal by Germaine Krull (1927) 13 ROBERT DESNOS Spectacles of the Street—Eugene Atget (1928) 16 ALBERT VALENTIN Eugene Atget (1928) 18 FLORENT FELS The First Salon Independant de la Photographie (1928) 23 PIERRE MAC ORLAN The Literary Art of Imagination and Photography (1928) 27 PIERRE MAC ORLAN Elements of a Social Fantastic (1929) 31 SALVADOR DALI Photographic Testimony (1929) 34 CARLO RIM On the Snapshot (1930) 37 vi CONTENTS PIERRE MAC ORLAN Preface to Atget Photographe de Paris (1930) 41 PHILIPPE SOUPAULT The Present State of Photography (1931) 50 MAN RAY The Age of Light (1934) 52 TRISTAN TZARA When Objects Dream (1934) 55 MAN RAY On Photographic Realism (1935) 57 Louis ARAGON John Heartfield and Revolutionary Beauty (1935) 60 Louis ARAGON Untitled contribution to The Quarrel over Realism (1936) 68 GERMANY LASZL6 MOHOLY-NAGY Production-Reproduction (1922) 79 LASZL6 MOHOLY-NAGY Unprecedented Photography (1927) 83 LASZL6 MOHOLY-NAGY Photography in Advertising (1927) 86 ERNO KALLAI, with responses from WILLI BAUMEISTER, ADOLF BEHNE, and LASZL6 MOHOLY-NAGY Painting and Photography; Excerpts (1927)
    [Show full text]