Fantasy, the Metaphysical School and Dada
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In Conversation with Adam Pendleton: What Is Black Dada?
In conversation with Adam Pendleton: What is Black Dada? Awa Konaté James Baldwin once said, ‘we used to think of history as the realm of the settled as an inalterable past, as a nightmare. That was the legacy bequeathed us by the past century’s catastrophes. But while we can never redeem what has been lost, versions of the past are forever being reconstructed in our fabrication of the present.’1 Although Baldwin enumerated these words in 1972, today’s volatile political moments and relations reminds us that the past is repeatedly embedded, and evermore so, in our present sphere. Baldwin comments on the interrelations between past and present realities as a continuum of cultural and historical notions that constitute the very materiality of our social fabric as ever persistent, suggesting the past is never past but an ongoing rupture in the present. Adam Pendleton is an artist whose unwinnable and complex layered practice is exceptionally occupied with Baldwin’s declarative statement. With a career spanning nearly two decades, Pendleton has situated the intersections of race, belonging, cultural politics and art history as varying constructions that are rearticulated and imposed in the very centre of our ‘Contemporary’ – not merely in order to inquire ‘how’ and ‘what if’ but to push the very logic that constitutes their historical and social functions. My first encounter with Adam Pendleton was his large ‘Black Lives’ banner at the Venice Biennale’s Belgian pavilion in 2015.2 The context was stupendous, the banner’s dominating and large scaled presence appeared to almost ‘devour’ the white cubed pavilion by forcing the centrality of its race relations. -
Religious Symbolism in Salvador Dali's Art: a Study of the Influences on His Late Work
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2012 Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work. Jessica R. Hawley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Fine Arts Commons Recommended Citation Hawley, Jessica R., "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work." (2012). Undergraduate Honors Theses. Paper 34. https://dc.etsu.edu/honors/34 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. ’ A t: A Study of the Influences on His Late Work Thesis submitted in partial fulfillment of Honors By Jessica Hawley The Honors College Fine and Performing Art Scholars Program East Tennessee State University April 6, 2012 Dr. Scott Contreras-Koterbay, Faculty Mentor Dr. Peter Pawlowicz, Faculty Reader Patrick Cronin, Faculty Reader Hawley 2 Table of Contents Preface 3 Chapter 1: ’ Ch h 4 Chapter 2: Surrealism 7 Chapter 3: War 10 Chapter 4: Catholicism 12 Chapter 5: Nuclear Mysticism 15 Conclusion 18 Images 19 Bibliography 28 Hawley 3 Preface Salvador was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. -
Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
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. -
Âme D'automne (Autumn Soul)
Armand Point (French 1860 - 1932) Âme d’Automne (Autumn Soul) Pastel on brown paper. Signed APoint at the lower right. 483 x 645 mm. (19 x 25 3/8 in.) This beautiful pastel portrait was exhibited by Armand Point, with the title Âme d’Automne, at the Salon of the Société Nationale des Beaux-Arts on the Champ de Mars in Paris in 1893. A contemporary photograph of the exhibition shows the present work hanging alongside nine other highly finished pastel paintings of young women by the artist. All of the works shown by Point at the Salon de la Société Nationale des Beaux-Arts of 1893 were much admired by critics, and two of the pastels were purchased by the State. The model for this pastel portrait was Point’s companion and muse, Hélène Linder (1867-1955), who met the artist around 1886. Linder posed for several of his finest paintings, drawings, pastels and prints of the 1890’s. As the Point scholar Robert Doré has noted of the artist, ‘his observations focused on Hélène...she remained his preferred model until the end of the century...She was above all the inspiration and muse of Armand Point who would, thanks to her, know a period of exceptional creativity.’ Hélène Linder and Point lived together at Marlotte for nearly eight years. This period, as Doré has noted, accounts for some of ‘the artist’s finest works [in] the most brilliantly creative period in his career. These works are a testament to the deep tenderness that unified them, and the enthusiasm they shared in Marlotte.’ Point and Linder remained together until 1899, when Hélène met and eventually married the diplomat Philippe Berthelot. -
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. -
Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
Dada to New Objectivity, Part 2: Duchamp
Dada to New Objectivity, Part 2: Duchamp Arp is always given as the paradigm example of this although recent studies suggest that might be an oversimplification. A recent study of Arp seems to find his multi-lingual childhood a model or metaphor for understanding his “multi-lingual” personality as an artist. Arp wrote poetry, was a sculptor and painter, associated with international constructivism, dada, and surrealism. Making this an apt metaphor are the similarities between his creative activities: in poetry, he wrote in both French and German, easily translating one into the other; in painting and sculpture, he is perhaps best known for his reliefs – a medium which fluidly moves from two to three-dimensions as the relief is painted and like a collage but because they are made of wood or other substantial materials, they engage light and shade and volume in real ways as well as pictorial. The myth about Arp’s early reliefs and collages is that he made them entirely according to the laws of chance – that he cut out pieces of paper (or wood) and let them fall to the ground, creating the future work of art without his direction. Although it seems unlikely that he did, in fact, make his works entirely according to chance, it does not seem unlikely that he wanted them to look as though they had been ruled by chance or that he understood the ways in which chance might affect the final work. Certainly, there is no doubt that in these early works there are no references to figures or recognizable forms and that in place of representation, they assert, if not outright flaunt, the materiality of the object. -
Rethinking New Objectivity in Alfred Barr's Chart of Modern Art in 1936
Rethinking New Objectivity in Alfred Barr’s Chart of Modern Art in 1936 By Niloofar Gholamrezaei, Ph.D. Candidate at Texas Tech University. I- Introduction Historically, modernism refers to the different artistic movements of the 20th century. However, several sets of definitions have shaped the ways in which one defines modern art1. Perhaps the most dominant definition of modernism drives from Alfred Barr’s catalog, “Cubism and Abstract Art" (fig 1). Barr wrote the catalog for the major exhibition, “Cubism and Abstract Art”, curated by the Museum of Modern Art (MoMA) in 1936 (MoMA: Cubism and Abstract Art). The show along with the catalogue were meant to present the modern art (MoMA: Cubism and Abstract Art). In the catalog, Barr wrote a concrete history of modernism (Platt, 293). His definition can be considered as one of the first systematic histographies of modern art (293). In his catalog, Barr identifies the modern art movement as a linear removal from realism toward abstraction (293). According to the Museum of Modern Art, Alfred Barr’s narrative “continues to shape the Museum’s presentation of modernism to this day” (Cubism and Abstract Art). Therefore, his definition of modernism has been promoted by the MoMA as the definition of modern art and has remained an influential way of defining modernism. However, such histography was embedded within certain ideologies and propagandas related to the political condition of its time (Platt, 284). Thus, Barr’s notion of modern art contains limitations and problems and needs to be challenged. Among various problems in Barr’s definition of modernism is his exclusion of some artistic movements and trends that did not fit his model, or which contradicted his definition of modernism. -
Italian Painting in Between the Wars at MAC USP
MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters. -
Sretenovic Dejan Red Horizon
Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc.