1 Lawrence Atkinson, Sculpture, and Vorticist Multimediality Seven Years
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Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield. -
Modernist Ekphrasis and Museum Politics
1 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2017 2 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2017 3 ABSTRACT This dissertation argues that the public art museum and its practices of collecting, organizing, and defining cultures at once enabled and constrained the poetic forms and subjects available to American and British poets of a transatlantic long modernist period. I trace these lines of influence particularly as they shape modernist engagements with ekphrasis, the historical genre of poetry that describes, contemplates, or interrogates a visual art object. Drawing on a range of materials and theoretical formations—from archival documents that attest to modernist poets’ lived experiences in museums and galleries to Pierre Bourdieu’s sociology of art and critical scholarship in the field of Museum Studies—I situate modernist ekphrastic poetry in relation to developments in twentieth-century museology and to the revolutionary literary and visual aesthetics of early twentieth-century modernism. This juxtaposition reveals how modern poets revised the conventions of, and recalibrated the expectations for, ekphrastic poetry to evaluate the museum’s cultural capital and its then common marginalization of the art and experiences of female subjects, queer subjects, and subjects of color. -
Press Release NEW RHYTHMS Henri Gaudier-Brzeska
Press Release New Exhibition performances of the Ballets Russes is brought to the fore through his bronze Firebird (1912). As well as exploring dance New Rhythms will investigate the artist’s wider NEW RHYTHMS fascination with motion, and the physical dynamism of bodily movement – new rhythms that are communicated Henri Gaudier-Brzeska: through sculpture and many of the artist’s drawings. The new dance trends that exploded onto pre‐war Art, Dance and Movement London stages and screens such as Apache dance from Paris, Tango and Ragtime and performances by the in London 1911-1915 Ballets Russes, will be represented through photographs, printed sources and film. The show culminates by asking Tuesday 17 March 2014 –– how Gaudier‐Brzeska’s dancers can inspire new rhythms now, through a contemporary dance and music Sunday 21 June 2015 commission. The work by Malgorzata Dzierzon, performed to new music commissioned from emerging In spring 2015 Kettle’s Yard will present a major composer Kate Whitley, will feature in the exhibition exhibition to mark the centenary of the death in the First through film. World War of the French-born sculptor and draughtsman This will be the final exhibition at Kettle’s Yard before Henri Gaudier-Brzeska (1891‐1915). Gaudier-Brzeska closing for a major development of the site and offers a moved permanently to London in January 1911. He chance for visitors to enjoy the house and an exhibition made a significant contribution to the development of intimately linked to it and the permanent collection. For modern sculpture, as one of the key members of the more about the development plans and off site activity Vorticist movement and by influencing a later generation see our website: www.kettlesyard.co.uk. -
The Joan and Lester Avnet Collection in the Museum of Modern Art : Exhibited, Apr
A Treasury of modern drawing : the Joan and Lester Avnet Collection in the Museum of Modern Art : exhibited, Apr. 27-July 4, 1978 William S. Lieberman Date 1978 Publisher The Museum of Modern Art ISBN 08707060980 Exhibition URL www.moma.org/calendar/exhibitions/2355 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art A TREASURY OF MODERN I DRAWING THE JOANAND LESTER AVNET COLLECTION Archive MoMA 1210 ft TREASURY OF MODERN DRAWING A TREASURY OF MODERN DRAWING THE JOANAND LESTER AVNET COLLECTION IN THE MUSEUMOF MODERNART WILLIAMS.LIEBERMAN THE MUSEUM OFMODERN ART, NEW YORK 4«-CH'«C lAOrf/) 12-10 MUSEUM OF MODERNART LIBRARY Copyright © 1978 by The Museum of Modern Art All rights reserved The Museum of Modern Art 11 West 53 Street New York, N.Y. 10019 Library of Congress Catalog Card Number: 78-50658 ISBN: 0-87070-609-8 Designed by Steven Schoenfelder Printed by Meriden Gravure Co., Meriden, Conn. Bound by Sendor Bindery, Inc., New York, N.Y. Printed in the United States of America cover Matisse: The Necklace. 1950. Brush and ink, ioVz x i6Vi" frontispiece Feininger: The Town ofLegefeld. 1916. Pen and ink, charcoal, 9 Vi x 12V2" INTRODUCTION 7 ILLUSTRATIONS 35 CA TALOG OF THE COLLECTION 108 Lester Avnet was a devoted son, brother, husband, and father. His life was dedicated to his family; indeed he thought more often of them, always with pride, than he did of himself. -
Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
Charles Ginner, A.R.A
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Charles Ginner, A.R.A. (Cannes 1878 – 1952 London) St. Just in Cornwall – A landscape with cottages Signed ‘C. GINNER’ (lower left) Pen and ink and watercolour on paper 9 ¾ x 11 ¾ in. (25 x 30 cm.) Provenance Gifted by the Artist to Mrs. Frank Rutter. The Fine Art Society, 1985. Henry Wyndham Fine Art Ltd, London. Private Collection. Exhibited London, St George's Gallery, Charles Ginner and Randolph Schwabe, March 1926 (details untraced). London, The Fine Art Society, Charles Ginner, 7th - 25th October 1985, cat. no.13, illustrated. Literature Charles Ginner, List of Paintings, Drawings, etc. of Charles Ginner, Book II, 1919-1924, p. 135. Primarily a townscape and landscape painter, Charles Ginner grew up in France where his father, a doctor, practised, but settled in London in 1910. He was heavily influenced by Vincent van Gogh, Paul Gauguin and Paul Cézanne. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one-person show, which helped to introduce post-Impressionism to South America. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com He was a friend of Harold Gilman and Spencer Gore and through them was drawn into Walter Sickert’s circle, becoming a founder member of the Camden Town Group in 1911 and the London Group in 1913. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
Cubism, Vorticism and Vocabulary Quiz
Cubism, Vorticism and Vocabulary Quiz Please read the information and look at the images on the Google Slides document about Cubism and Vorticism before answering these questions. 1. In which country did Cubism begin? a. Germany b. Italy c. France 2. Which sorts of shapes are mainly used in Cubist artwork? a. Wavy and swirly lines which are repeated b. Cubes and other geometric shapes c. Curved shapes such as circles and ovals 3. What kinds of colours were mainly used in Analytical Cubist artwork? a. Primary b. Monochrome c. Complementary 4. What is the correct definition of a collage? a. When pieces of paper are used to create an image b. When a variety of materials are used in an artwork c. When a variety of pencil tones are used in an artwork 5. In what kind of Cubism did Picasso use collage? a. Material Cubism b. Synthetic Cubism c. Chemical Cubism 6. Vorticism was partly inspired by which of these Art movements? a. Pop Art and Realism b. Surrealism and Op Art c. Cubism and Futurism 7. What kinds of lines were mainly used in Vorticist artwork? a. Straight lines with sharp angles b. Curving lines with swirls c. Wavy and scalloped lines 8. Which of these words links with this image? (Choose 2) a. Geometric - made up of clear lines and shapes such as squares and b. triangles. c. Symmetrical - something being exactly the same on opposite sides. d. Modern - something from present or recent times. 9. Which of these words links with this image? (Choose 2) a. -
100 Years of the London Group the English Are an Essentially
Moving with the times: 100 years of the London Group The English are an essentially conservative people, their suspicion of anything new or innovative, unless it can be seen to have an immediate usefulness or purpose, innate. The arts, whose lifeblood depends on precisely those qualities, have not been immune to its effects, as the current plight of the arts in the school curriculum makes only too plain while the history of the visual arts in England, certainly over the last two hundred years or more and probably since the Reformation, has been dogged by its influence. The response has nearly always been the determination of a small group of artists to set up new societies or artistic groupings; first and foremost, of course, there was the Royal Academy of Arts in 1768 and, in the 19thC., when that institution had slipped back into full-blown academic conservatism, there were first the Pre-Raphaelites and then, in 1886, the New English Art Club on hand to stir things up once again. Indeed the history of English Modernism could, from this point on, almost be written in terms of constant reaction and renewal through such associations of artists, culminating in that heady period, just before the First World War when the flurry of new artistic associations stirred up by the response of younger artists to the Modernist revelations of Roger Fry’s two great French Post-Impressionist exhibitions of 1910 and 1912 – the Camden Town Group, the Fitzroy Street Group and the Allied Artists’ Association in particular - in their turn reacted against the by now largely establishment New English. -
Ezra Pound and the Rhetoric of Science, 1901–1922
EZRA POUND AND THE RHETORIC OF SCIENCE, 1901–1922 Kimberly Kyle Howey University College London Thesis submitted in partial fulfillment of the requirements for the degree of doctor of philosophy in European Studies, University College London, January 2009. 1 I, Kimberly Kyle Howey, 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. 2 ABSTRACT This thesis identifies science as Ezra Pound’s first extended extra-poetic interest. This reference to science in Pound’s poetic theory and poetry is portrayed as rhetoric, with its emphasis on the linguistic signifier or word rather than the actual concepts and data of science. The material covers over two decades between 1901, when Pound entered university, and 1922, after he left London. Beginning with Pound’s exposure to philology, the thesis establishes a correlation between his educational background and his use of scientific rhetoric in his prose. As he attempted to establish a professional status for the poet, he used metaphors linking literature to the natural sciences and comparisons between the poet and the scientist. Additionally, Pound attempted to organize poetic movements that resembled the professional scientific organizations that were beginning to form in America. In his writings promoting these movements, Pound developed a hygienic theory of poetry— itself an extensive rhetorical project—which produced a clean, bare poem and further linked Pound’s poetic output with the sciences. Beyond his rhetorical use of science, Pound attempted to study the sciences and even adopted a doctor persona for his friends with illnesses—both diagnosing and prescribing cures. -
Scarica La Lista in Formato
Artinvest2000, i principali movimenti artistici. http://www.artinvest2000.com Dalla lettera A alla G ASTRATTISMO Astrattismo tendenza artistica del XX Secolo. Abbandonando la rappresentazione mimetica del mondo esterno, trova in generale le sue ragioni nella riflessione sulle specificità della ricerca formale e della percezione visiva. Parallelamente allo sviluppo di una speculazione estetica tra positivismo e spiritualismo (K. Fiedler, Origine dell'attività artistica, 1887; W. Worringer, Astrazione e empatia, 1908), molti artisti tendono alla rifondazione del proprio campo d'azione attraverso lo studio degli elementi formali che costituiscono le fondamenta sintattiche del linguaggio visivo, innescando un processo di sempre più radicale semplificazione e scomposizione delle forme. Una tendenza del genere, complicata dall'interesse per il meccanismo dei procedimenti percettivi, sposta progressivamente in secondo piano o elimina del tutto ogni preoccupazione rappresentativa. Sono soprattutto il "Sintetismo" e il decorativismo simbolista e la stilizzazione "Art nouveau" carica di suggestioni irrazionali e vitalistiche. ad alimentare il terreno culturale sul quale, attorno al 1910, si sviluppano diverse tendenze astratte nell'ambito dei movimenti d'avanguardia tedesco, russo, ceco e ungherese. Loro antecedenti immediati sono i due grandi movimenti innovatori dell'inizio del secolo, "Fauvisme" e "Cubismo". A questa duplice matrice formale si collegano i due modi principali dell'astrattismo, entrambi cresciuti nella ricerca di un ordine e di -
Sheila Watson Fonds Finding Guide
SHEILA WATSON FONDS FINDING GUIDE SPECIAL COLLECTIONS JOHN M. KELLY LIBRARY | UNIVERSITY OF ST. MICHAEL’S COLLEGE 113 ST. JOSEPH STREET TORONTO, ONTARIO, CANADA M5S 1J4 ARRANGED AND DESCRIBED BY ANNA ST.ONGE CONTRACT ARCHIVIST JUNE 2007 (LAST UPDATED SEPTEMBER 2012) TABLE OF CONTENTS TAB Part I : Fonds – level description…………………………………………………………A Biographical Sketch HiStory of the Sheila WatSon fondS Extent of fondS DeScription of PaperS AcceSS, copyright and publiShing reStrictionS Note on Arrangement of materialS Related materialS from other fondS and Special collectionS Part II : Series – level descriptions………………………………………………………..B SerieS 1.0. DiarieS, reading journalS and day plannerS………………………………………...1 FileS 2006 01 01 – 2006 01 29 SerieS 2.0 ManuScriptS and draftS……………………………………………………………2 Sub-SerieS 2.1. NovelS Sub-SerieS 2.2. Short StorieS Sub-SerieS 2.3. Poetry Sub-SerieS 2.4. Non-fiction SerieS 3.0 General correSpondence…………………………………………………………..3 Sub-SerieS 3.1. Outgoing correSpondence Sub-SerieS 3.2. Incoming correSpondence SerieS 4.0 PubliShing records and buSineSS correSpondence………………………………….4 SerieS 5.0 ProfeSSional activitieS materialS……………………………………………………5 Sub-SerieS 5.1. Editorial, collaborative and contributive materialS Sub-SerieS 5.2. Canada Council paperS Sub-SerieS 5.3. Public readingS, interviewS and conference material SerieS 6.0 Student material…………………………………………………………………...6 SerieS 7.0 Teaching material………………………………………………………………….7 Sub-SerieS 7.1. Elementary and secondary school teaching material Sub-SerieS 7.2. UniverSity of BritiSh Columbia teaching material Sub-SerieS 7.3. UniverSity of Toronto teaching material Sub-SerieS 7.4. UniverSity of Alberta teaching material Sub-SerieS 7.5. PoSt-retirement teaching material SerieS 8.0 Research and reference materialS…………………………………………………..8 Sub-serieS 8.1.