DOCSLIB.ORG

Nordlit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nordlit NORDLIT Journal of culture and literature Faculty of Humanities, University of Tromsø <http://www.hum.uit.no/nordlit/index.html> Centre–Periphery The Avant-Garde and the Other Issue 21, Spring 2007 EUROPA! EUROPA? E European network réseau européen Europäisches Netzwerk First bi-annual conference of the A for Avant-garde and European Network for Avant-Garde and de recherche sur Modernism Studies (EAM) für Forschung zu M Modernism studies 29-31 May 2008 – Ghent University, Belgium l’avant-garde et le modernisme www.eam-europe.ugent.be Avantgarde und Moderne EAM Call for Submissions With initiatives in the cross-disciplinary fields of avant-garde and modernism studies booming throughout European academia, time has come to provide a more permanent platform in Europe for scholars to meet and discuss their research. The European Network for Avant-Garde and Modernism Studies (EAM) will devote itself to the study of the avant-garde and modernism in Europe within a global setting, throughout the nineteenth and twentieth centuries. EAM will promote interdisciplinary and intermedial research on experimental aesthetics and poetics, and aims to encourage an interest in the cultural dimensions and contexts of the avant-garde and modernism. The network aspires to embrace the wide variety within avant-garde and modernism studies, and welcomes all scholars engaged in these areas of research to participate in its founding conference. EAM’s first conference will focus on the Confirmed key-note speakers include: Charles relation between the avant-garde, modernism Altieri (University of Berkeley, California), and Europe. Conference proposals and papers Astradur Eysteinsson (University of Iceland, can be composed in English, French or Reykjavik), Paul Michael Lützeler (University German. For more information about potential of Washington, St. Louis), William Marx topics for panel, roundtable and paper (University of Orléans and University Institute proposals, visit: www.eam-europe.ugent.be. of France) and Piotr Piotrowski (Mickiewicz University, Poznan - Poland). Deadline for panel proposals: 1 September 2007 Deadline for roundtable proposals: 1 September 2007 Deadline for paper proposals: 1 October 2007 Contact: [email protected] ___________________________________________________________________________ The conference is sponsored by the Nordic Network of Avant-Garde Studies, the Centre for Modernist Studies at the University of Sussex, the research group 'Textual Culture: Modernism and Memory' of the University of Utrecht, the Interdisciplinary Center for Applied Poetics at the University of Liège, the L.P. Boon Centre of Antwerp University, OLITH (Research community in literary theory, Flanders), and the department of Dutch Literature and Literary Theory as well as the Faculty of Arts and Philosophy of Ghent University. NORDLIT Issue 21, Spring 2007 Main editor Per Bäckström ([email protected]) Editors Helène Whittaker von Hofsten ([email protected]) Tanja Kudrjavtseva ([email protected]) Michael Schmidt ([email protected]) Editorial committee Hubert van den Berg, University of Groningen Bodil Børset, NTNU Trondheim Benedikt Hjartarson, Háskóli Íslands (University of Iceland) Marianne Ping Huang, University of Copenhagen Jonas Ingvarsson, University of Karlstad Jesper Olsson, Stockholm University Tania Ørum, University of Copenhagen Faculty of Humanities, University of Tromsø, NO–9037 Telephone +47–77 64 42 40 Fax +47–77 64 42 39 ISBN 978-82-90423-76-1 ISSN 0809-1668 Cover photo: Gösta Adrian Nilsson “Indianstrid” 1917 © Halmstad museum Introduction The following issue of Nordlit has as its theme “Centre-Periphery. Avant-Garde and the Other” and is the outcome of a conference of the same name that took place in Tromsø on 23–24 November 2006. The peripheral location of this conference was evident to the many participants in the midwinter darkness of the Arctic. The theme of the Other is also deeply embedded in Tromsø, symbolized by prolific Sami Studies at the university, but it was and is thematized as well by a painting by one of the foremost Swedish avant-gardists, Gösta Adrian-Nilsson (GAN): “Indianstrid” (Indian Combat), reproduced on the conference posters and on the cover of this issue. As a homosexual from Scania in the south of Sweden, GAN was doubly excluded by the Centre, Stockholm, but he also often painted the Other: sailors, Indians and exotic creatures such as panthers. In this respect, he seemed the perfect theme for such a conference. The conference was organized by the undersigned for the Nordic Network for Avant-Garde Studies, in co-operation with the Faculty of Humanities at the University of Tromsø. The Nordic Network of Avant-Garde Studies is financed by NordForsk as a continuance of the Danish avant-garde research network “The Return and Actuality of the Avant-Gardes” 2002–2003. The Nordic network has played a pivotal role in the establishment of a European Association of Avant-Garde and Modernism Studies (EAM), which has its inaugural conference in Ghent, Belgium in 2008. Three keynote speakers were on the programme: Professor Arild Linneberg (Bergen) opened the conference with “The Aesthetic Avant-garde and the Sami tradition: A Speech on the inter-artistic Verbal Art of Nils-Aslak Valkeapää (Áillohaš)”; Professor Eva Forgacs (Budapest/Pasadena) spoke about “Romantic Peripheries”; and Professor Amelia Jones (Manchester) gave a presentation on “Performing the Wounded Body: A New Theory of Political Agency in the Visual Arts”. The conference was a success, judging by the feedback from participants after the conference. It is therefore all the more pleasurable to be able to present a first collection of contributions to the conference, expanded with some additional essays and reviews, in this issue of Nordlit only half a year after the conference. A second collection, which focuses on the relation between avant- garde and periphery, will follow. I hope that the rich variety of articles on the themes of the conference will be of interest for scholars in all aesthetic fields. The articles are divided into three main categories. Firstly, there is a section 3 Introduction containing theoretical investigations; this is followed by a section discussing the relation between different avant-gardes; finally, there is a section presenting avant-garde artists from different peripheries. Per Bäckström The authors possess sole copyright of their contributions. They have warranted to the editors of Nordlit that permission has been obtained for the inclusion of any materials copyrighted by others. All questions concerning copyright should be addressed to the respective authors. Amendment of English is also the responsibility of each individual author. 4 The Marginalisation of Art The Avant-Garde, De-Realisation, and the Art Attack Richard Murphy In January 2006 at the Dada exhibition in the Beaubourg museum in Paris an incident took place involving one of the foremost icons of the avant-garde, namely Marcel Duchamp’s famous Fountain, the urinal which he signed “R. Mutt, 1917”. A French conceptual artist, Pierre Pinoncelli, attacked the celebrated object with a small hammer causing slight damage, for which he was subsequently fined €150,000. According to reports this was in fact the second time that he had attacked Duchamp’s piece. On the previous occasion he had given way to an urge of a slightly different kind and had attempted simply to urinate in it.1 Similarly, when the pop musician Brian Eno visited Duchamp’s Fountain in the Museum of Modern Art in New York he had carefully hidden in his trousers a system of tubing which allowed him to open his fly and aim several drops of his own, previously collected bodily fluids into the porcelain. In comparable fashion, at a 1999 exhibition for the Turner Prize at Tate Britain two Chinese conceptual artists took advantage of the availability of Tracey Emin’s My Bed and stripped off for a quick romp in the sheets. One of them was apprehended before he had a chance to take off his own underwear and replace it with the rather grubby pair that Tracey Emin had thoughtfully included as part of her exhibit of this typical scene from her own boudoir. The artists described their action as a “performance” (with the title Two Naked Men Jump Into Tracey’s Bed) and as an artistic intervention, claiming that they were “improving” Emin’s work, which in their opinion had “not gone far enough”.2 Obviously this is not the first time that an exhibit in an art museum has been attacked. But it seems significant that rather than involving a mindless attack with a sharp instrument on a recognised masterpiece simply to inflict damage the assaults on these avant-garde pieces are of a rather different order, and have a method to their own particular madness. Avant-garde works appear to be especially prone to 1 See John Lichfield. “‘Performance artist’ stages second attack on Duchamp’s urinal,” The Independent (London, 7/1/2006). 2 On the incidents with Eno and My Bed, see the article “Art attacks” by Mark Blacklock, The Daily Telegraph 26/06/2003.. Although Yuan Chai and Jian Jun Xi were arrested for their action no charges were pressed. Chai had written the words “ANTI STUCKISM” on his bare back. They said they opposed the Stuckists, who are anti-performance art. 5 The Marginalisation of Art such onslaughts, and art attacks such as these—clearly not isolated cases—appear to imply the critique that an earlier “tradition” of the avant-garde is dead or, as in the case of Tracey Emin’s bed, that it may need help in producing any shock. At the most basic level it could be argued that such art attacks are indeed also interventions, that is, a form of continuation of the original joke or even an elaboration of the original artistic conception. For in a sense the attack actually renews the avant-garde impetus by asking certain questions about the piece, for example regarding its museum setting, its canonisation as art, and in the case of the “real” or “found” object, about its relationship to the world beyond.
Load more

Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
    Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995.
    [Show full text]
  • Martinson Nomadism.Pdf
    due punti •• 52 © 2017, Pagina soc. coop., Bari Le avanguardie dei Paesi nordici nel contesto europeo del primo Novecento The Nordic Avant-gardes in the European Context of the Early 20th Century Atti del Convegno Internazionale di Studi Roma, 22-24 ottobre 2015 a cura di / edited by Anna Maria Segala, Paolo Marelli, Davide Finco Per informazioni sulle opere pubblicate e in programma rivolgersi a: Edizioni di Pagina via dei Mille 205 - 70126 Bari tel. e fax 080 5586585 http://www.paginasc.it e-mail: [email protected] facebook account http://www.facebook.com/edizionidipagina twitter account http://twitter.com/EdizioniPagina Le avanguardie dei Paesi nordici nel contesto europeo del primo Novecento The Nordic Avant-gardes in the European Context of the Early 20th Century Atti del Convegno Internazionale di Studi Roma, 22-24 ottobre 2015 a cura di / edited by Anna Maria Segala, Paolo Marelli, Davide Finco È vietata la riproduzione, con qualsiasi mezzo effettuata, compresa la fotocopia. Per la legge italiana la fotocopia è lecita solo per uso personale purché non danneggi l’autore. Quindi ogni fotocopia che eviti l’acquisto di un libro è illecita e minaccia la sopravvivenza di un modo di trasmettere la conoscenza. Chi fotocopia un libro, chi mette a disposizione i mezzi per fotocopiare, chi favorisce questa pratica commette un furto e opera ai danni della cultura. Finito di stampare nell’ottobre 2017 dalle Arti Grafiche Favia s.r.l. - Modugno (Bari) per conto di Pagina soc. coop. ISBN 978-88-7470-580-1 ISSN 1973-9745 Contents Anna Maria Segala, Paolo Marelli, Davide Finco Preface 9 Anna Maria Segala The Dialectic Position of the Nordic Avant-gardes 11 SECTION 1 The Precursors Björn Meidal Strindberg and 20th Century Avant-garde Drama and Theatre 25 Kari J.
    [Show full text]
  • The Authenticity of Ambiguity: Dada and Existentialism
    THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study.
    [Show full text]
  • Moments in Time: Lithographs from the HWS Art Collection
    IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK.
    [Show full text]
  • Gianni Motti
    TRANSFERT Publisher TRANSFERT Editor MARC-OLIVIER WAHLER ART DANS L’ESPACE URBAIN KUNST IM URBANEN RAUM ART IN URBAN SPACE No 10 ESS Biel-Bienne CH 17 06 - 31 08 2000 «I LOOKEDATTHE CITY AND I SAW NOTHING» -F DE 8 INTRODUCTION (F) 28 MARC-OLIVIER WAHLER 176 MARC-OLIVIER WAHLER 320 MARC-OLIVIER WAHLER 14 EINFÜHRUNG (D) “J’AI REGARDÉ VERS LA VILLE “ICH SCHAUTE AUF DIE STADT “I LOOKED AT THE CITY AND ET JE N’AI RIEN VU” UND SAH NICHTS” I SAW NOTHING” 20 INTRODUCTION (E) 36 JOSHUA DECTER 184 JOSHUA DECTER 328 JOSHUA DECTER COMMUNICATION-VILLE KOMMUNIKATION STADT COMMUNICATION CITY 46 JEAN-CHARLES MASSÉRA 194 JEAN-CHARLES MASSÉRA 338 JEAN-CHARLES MASSÉRA PUISSE LE PROCESSUS GLOBAL MÖGE DER GLOBALE AKKUMULATIONS- MAY THE GLOBAL PROCESS OF D’ACCUMULATION TREMBLER PROZESS VOR EINER REVOLUTION DER ACCUMULATION TREMBLE AT THE À L’IDÉE D’UNE RÉVOLUTION DES BENUTZER ERZITTERN (MANIFEST FÜR IDEA OF A USERS’ REVOLUTION USAGERS (MANIFESTE POUR DIE (MANIFESTO FOR CONSCIOUSNESS LA CONSCIENTISATION DE LA BEWUSSTMACHUNG DES DEVELOPMENT ABOUT THE USER CONDITION USAGÈRE) BENUTZERDASEINS) CONDITION) 60 OLIVIER MOSSET 208 OLIVIER MOSSET 350 OLIVIER MOSSET INFORMATION TRANSFER INFORMATION TRANSFER INFORMATION TRANSFER 66 MARTIN CONRADS 214 MARTIN CONRADS 356 MARTIN CONRADS COLORIS GLOCAL “GLOKALKOLORIT” GLOCAL COLOR 74 FRANK PERRIN 222 FRANK PERRIN 364 FRANK PERRIN LE JOGGER, HÉROS DE LA VIE DER JOGGER, HELD DES THE JOGGER, HERO OF POSTMODERNE POSTMODERNEN LEBENS POSTMODERN LIFE 82 LORI HERSBERGER 230 OLIVIER BLANCKART 372 PETER LAND 88 OLIVIER MOSSET 236 JONATHAN
    [Show full text]
  • Actualisation of Space: the Case of Oda Projesi
    10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, high­ceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an American­style prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architect­designed passage like the atrium in Galeriahaus, which was closed by the authorities to non­residents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997.
    [Show full text]
  • Towards a Politics of (Relational) Aesthetics by Anthony Downey
    This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s.
    [Show full text]
  • Poesier & Kombinationer Bruno K. Öijers Intermediala Poesi Askander
    Poesier & kombinationer Bruno K. Öijers intermediala poesi Askander, Mikael 2017 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Askander, M. (2017). Poesier & kombinationer: Bruno K. Öijers intermediala poesi. (Lund Studies in Arts and Cultural Sciences; Vol. 12). Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Mikael Askander Poesier & kombinationer BRUNO K. ÖIJERS INTERMEDIALA POESI LUND STUDIES IN ARTS AND CULTURAL SCIENCES 12 Bruno K. Öijer är ett av de mest centrala namnen i den moderna svenska litteraturen. Alltifrån debuten 1973, med diktsamlingen Sång för anarkismen, till idag har hans dikter nått stora skaror av läsare.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Francisco J. Uriz: "No Soy Un Teórico, Soy Un Trabajador"
    Francisco J. Uriz: "No soy un teórico, soy un trabajador" Juan Marqués l 19 de abril de 2015, muy pocos días antes de que Francisco J. Uriz y su mujer, Marina Torres, volasen a Estocolmo para pasar allí la temporada estival, visité al matrimonio en su domicilio de la calle Valencia de Zaragoza y, antes de probar el legen­ darioE salmón al eneldo de Uriz y el no menos sobresaliente tiramisú de Marina, mantuve con él la conversación que aquí se transcribe, mientras ella leía el periódico en el salón y aderezaba la charla con comentarios perspicaces y divertidos. Cuando lo conocí en nuestra ciudad, durante una comida que organizó Diego Moreno, editor de Nórdica Libros, el 3 de noviembre de 2011, mi timidez me impidió explicarle cuánto le debo, pero lo cierto es que, pensándolo bien, no creo haber leído nunca más versos de nadie, si contamos como suyos todos aquellos que él ha traído desde el idioma sueco al español. Y, teniendo en cuenta la aplastante calidad de muchísimos de los autores que gracias a él conocemos, es de justicia declarar que pocas personas me han proporcionado tantas horas de jolgorio lector, de felicidad solitaria y privada. Intenté explicarlo con un poco de orden y también un punto de desenfado en el artículo "Algo de lo que debemos a Uriz", publicado en el número 6 de la revista zaragozana Crisis, y después, con más espacio y seriedad, en el volumen 113-114 de la turolense Turia, donde volvía sobre sus traducciones y sobre todo analizaba su propia obra poética, menos conocida pero igualmente valiosa.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]