DOCSLIB.ORG

Modernism Revisited Edited by Aleš Erjavec & Tyrus Miller XXXV | 2/2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Filozofski vestnik Modernism Revisited Edited by Aleš Erjavec & Tyrus Miller XXXV | 2/2014 Izdaja | Published by Filozofski inštitut ZRC SAZU Institute of Philosophy at SRC SASA Ljubljana 2014 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 141.7(082) 7.036(082) MODERNISM revisited / edited by Aleš Erjavec & Tyrus Miller. - Ljubljana : Filozofski inštitut ZRC SAZU = Institute of Philosophy at SRC SASA, 2014. - (Filozofski vestnik, ISSN 0353-4510 ; 2014, 2) ISBN 978-961-254-743-1 1. Erjavec, Aleš, 1951- 276483072 Contents Filozofski vestnik Modernism Revisited Volume XXXV | Number 2 | 2014 9 Aleš Erjavec & Tyrus Miller Editorial 13 Sascha Bru The Genealogy-Complex. History Beyond the Avant-Garde Myth of Originality 29 Eva Forgács Modernism's Lost Future 47 Jožef Muhovič Modernism as the Mobilization and Critical Period of Secular Metaphysics. The Case of Fine/Plastic Art 67 Krzysztof Ziarek The Avant-Garde and the End of Art 83 Tyrus Miller The Historical Project of “Modernism”: Manfredo Tafuri’s Metahistory of the Avant-Garde 103 Miško Šuvaković Theories of Modernism. Politics of Time and Space 121 Ian McLean Modernism Without Borders 141 Peng Feng Modernism in China: Too Early and Too Late 157 Aleš Erjavec Beat the Whites with the Red Wedge 175 Patrick Flores Speculations on the “International” Via the Philippine 193 Kimmo Sarje The Rational Modernism of Sigurd Fosterus. A Nordic Interpretation 219 Ernest Ženko Ingmar Bergman’s Persona as a Modernist Example of Media Determinism 239 Rainer Winter The Politics of Aesthetics in the Work of Michelangelo Antonioni: An Analysis Following Jacques Rancière 255 Ernst van Alphen On the Possibility and Impossibility of Modernist Cinema: Péter Forgács’ Own Death 271 Terry Smith Rethinking Modernism and Modernity 321 Notes on Contributors 325 Abstracts Kazalo Filozofski vestnik Ponovno obiskani modernizem Letnik XXXV | Številka 2 | 2014 9 Aleš Erjavec & Tyrus Miller Uvodnik 13 Sascha Bru Genealoški kompleks. Zgodovina onkraj avantgardnega mita o izvirnosti 29 Eva Forgács Izgubljena prihodnost modernizma 47 Jožef Muhovič Modernizem kot mobilizacija in krizni čas sekularne metafizike. Primer likovne umetnosti 67 Krzysztof Ziarek Avantgarda in konec umetnosti 83 Tyrus Miller Zgodovinski projekt »modernizma«: Metazgodovina avantgarde Manfreda Tafurija 103 Miško Šuvaković Teorije modernizma. Politika časa in prostora 121 Ian McLean Modernizem brez meja 141 Peng Feng Modernizem na Kitajskem; prezgodaj in prepozno 157 Aleš Erjavec Bij bele z rdečim klinom 175 Patrick Flores Razglabljanje o »mednarodnem« prek Filipinov 193 Kimmo Sarje Racionalni modernizem Sigurda Fosterusa. Nordijska interpretacija 219 Ernest Ženko Persona Ingmarja Bergmana kot modernistični primer medijskega determinizma 239 Rainer Winter Politika estetike v delu Michelangela Antonionija: Analiza po Jacquesu Rancièrju 255 Ernst van Alphen O možnosti in nemožnosti modernistične kinematografije: Lastna smrt Pétra Forgácsa 271 Terry Smith Premislek o modernizmu in modernosti 321 Notica o avtorjih 325 Povzetki Modernism Revisited Filozofski vestnik | Volume XXXV | Number 2 | 2014 | 9–11 Aleš Erjavec & Tyrus Miller Editorial Since the 1970s and 1980s when the concept of postmodernism was advanced and hotly debated, the concept of “modernism” was not simply superseded, but also itself became a major object of criticism, questioning, negation, and rein- scription. Throughout the 20th century and until the present, “modernism” has regularly simply superseded, has regularly accreted and shed meanings, fields of reference, and conceptual grounds. It has been variously characterized as the opposite of realism or a further radicalization of realist representation; as an outgrowth of or rupture with previous movements such as aestheticism and naturalism; as a synonym for or the antipode of various strands of the avant- garde; and as the visible proof of relevance of the notion of modernity, which by different thinkers has been said to have come to an end, been globally dis- persed, or continued in further development and differentiation. It has been divided among Latin American, Anglo-American, German and French designa- tions, and was proclaimed to be the last cultural dominant arising from Europe or the capitalist “West,” to be then broadened into “global modernisms.” By recent theorists, it has been temporally distinguished from contemporary art (by Terry Smith), dissolved within a historically more encompassing “aesthetic regime of art” (by Jacques Rancière), and displaced within the concept of “off- modernism” (Svetlana Boym). Due to its varied and contradictory history and to its uncertain present status 9 and content we have invited new reflection on the notion of modernism as a his- toricizing, periodizing, and/or geographical-historical framework. We wanted to attract boldly speculative, polemical essays that will set out new directions and spur further discussion and debate. These were some possible questions for contributors to consider in formulating topics: • Is modernism solely a past phenomenon or does it remain a contempo- rary one, and if so, how? aleš erjavec & tyrus miller • How does the contemporary moment compel revisiting and reinterpreta- tion of the modernist past, previous conceptions of modernism, the mod- ernist canon or archive? • Should alternative concepts such as those developed by Rancière, Smith, Boym (or other relevant thinkers) displace and / or replace the concept of modernism? • Should we speak of global and alternative modernisms and how are these related to expanding notions of modernity and modernization? • How do the various strains of “Eastern modernism”—related to Soviet, socialist bloc, and non-aligned social contexts—inflect the concepts of “modernism,” “Western modernism,” and / or “global modernism”? • How do differentiated, multiple temporalities—i.e. social-political time, technological time, material rhythms, gendered temporalities, memory structures, etc.—affect formulations of the concept of modernism (or al- ternatives to it)? • How have conceptions of modernism (or alternatives to modernism) re- sponded to marginal and / or emerging identities? The issue of Filozofski vestnik that is in front of you offers some answers to the questions formulated above. At the same time it also raises new questions and reveals new facets of this dynamic artistic, cultural and political phenomenon, thereby witnessing that in spite of frequent postmodern and also contemporary denigrations and proclamations of modernism as being obsolete and irrelevant, by its inner dynamism it continues to retain its importance and applicability to the past if not also to the present art. This is possible because past art forms, ideas, and works are being continuously interpreted and re-interpreted, and thereby reintegrated and then temporarily retained within what we call “art”— 10 whether art as an institution or art as its opposite and negation. In both in- stances past art—the art of modernism—is being recuperated and exists now on the same synchronic level as recent and contemporary art. Due to this re-emer- gence/rejuvenation of modernist art and its inclusion into our present it suffices to view this art as continuously relevant. Its being incessantly questioned is an- other feature of its inner and continuous dynamism and vitality. Such charac- teristics and circumstances prove that in some (or many) of its past and current meanings and significations it remains a concept that we expect to see and work with in the future. Modernism thus continues to be a pivotal cultural and artistic foundation of our past and present. It represents the pinnacle of art in the his- editorial tory of the EuroAmerican culture and, as recent research and exhibitions show and prove, has exterted and continues to exert an extraordinary amount of in- fluence also in other parts of the globe. This volume is thus yet another occasion to consider this point, causing modernism to be in the need of being revisited many more times. 11 Filozofski vestnik | Volume XXXV | Number 2 | 2014 | 13–28 Sascha Bru* The Genealogy-Complex History Beyond the Avant-Garde Myth of Originality1 As1there are many possible historical contexts within which to frame modern- ism, there are also various histories of modernism. From the 1980s through the turn of the millennium, scholars tended to rub modernist texts and artworks up against their most immediate contexts—understood in institutional, ideo- logical, social, or cultural terms. More recently, new approaches have called this procedure into question: digital humanities appear to bookend all of modernist history by questioning the traditional modes of presenting textual and artistic sources;2 cognitive readings substitute the human brain for context;3 while eco- logical and other approaches regard the history of modernist art and literature as a blip on the screen of planetary history, or “deep time”, radically expand- ing the reach of a term like context.4 These recent approaches have led to what could be called an “excess” of context that has thoroughly complicated our his- torical understanding of modernism and its classic avant-gardes (futurism, ex- pressionism, Dadaism, surrealism, among others). Yet this excess has also cre- ated a situation in which the wood is often no longer seen for the trees, because it has tended to draw attention away from a basic concern that unites all his- torical analyses: the issue of writing history or historiography, of the narrative
Recommended publications
  • A History of Von Neumann and Morgenstern's Theory of Games, 12Pt Escolha Sob Incerteza Ax

    A History of Von Neumann and Morgenstern's Theory of Games, 12Pt Escolha Sob Incerteza Ax

    Marcos Thiago Graciani Axiomatic choice under uncertainty: a history of von Neumann and Morgenstern’s Theory of Games Escolha sob incerteza axiomática: uma história do Theory of Games de von Neumann e Morgenstern São Paulo 2019 Prof. Dr. Vahan Agopyan Reitor da Universidade de São Paulo Prof. Dr. Fábio Frezatti Diretor da Faculdade de Economia, Administração e Contabilidade Prof. Dr. José Carlos de Souza Santos Chefe do Departamento de Economia Prof. Dr. Ariaster Baumgratz Chimeli Coordenador do Programa de Pós-Graduação em Economia Marcos Thiago Graciani Axiomatic choice under uncertainty: a history of von Neumann and Morgenstern’s Theory of Games Escolha sob incerteza axiomática: uma história do Theory of Games de von Neumann e Morgenstern Dissertação de Mestrado apresentada ao Departamento de Economia da Faculdade de Economia, Administração e Contabilidade da Universidade de São Paulo (FEA-USP) como requisito parcial à obtenção do título de Mestre em Ciências. Área de Concentração: Teoria Econômica. Universidade de São Paulo — USP Faculdade de Economia, Administração e Contabilidade Programa de Pós-Graduação Orientador: Pedro Garcia Duarte Versão Corrigida (A versão original está disponível na biblioteca da Faculdade de Economia, Administração e Contabilidade.) São Paulo 2019 FICHA CATALOGRÁFICA Elaborada pela Seção de Processamento Técnico do SBD/FEA com dados inseridos pelo autor. Graciani, Marcos Thiago. Axiomatic choice under uncertainty: a history of von Neumann and Morgenstern’s Theory of Games / Marcos Thiago Graciani. – São Paulo, 2019. 133p. Dissertação (Mestrado) – Universidade de São Paulo, 2019. Orientador: Pedro Garcia Duarte. 1. História da teoria dos jogos 2. Axiomática 3. Incerteza 4. Von Neumann e Morgenstern I.
  • March 5, 2019 Press Release WINNERS of the 7TH ANNUAL

    March 5, 2019 Press Release WINNERS of the 7TH ANNUAL

    March 5, 2019 Press release WINNERS OF THE 7TH ANNUAL THE ART NEWSPAPER RUSSIA AWARD ANNOUNCED On March 1, the 7th Annual Award of The Art Newspaper Russia took place. 2018 winners in categories “Museum of the Year”, “Exhibition of the Year”, “Book of the Year”, “Restoration of the Year” and “Personal Contribution” were announced at the Gostiny Dvor. The annual award of The Art Newspaper Russia is one of the most anticipated events in the art world, an acknowledgment of outstanding achievements in the field. The award highlights the past year's most significant events in Russian art both in Russia and abroad, as well as the work of patrons of the art in developing and preserving cultural heritage. The choice of winners was determined by both public response and the professional community's feedback. The award itself is a sculpture by Russian artist Sergey Shekhovtsov depicting the Big Ben of London and the Spasskaya Tower of the Moscow Kremlin as intersecting clock hands. The Art Newspaper highlights the events that incorporate Russia into the international art scene, promote Russian art abroad and, on the other hand, allow Russians to see and appreciate the art of the world. Inna Bazhenova, publisher and founder of The Art Newspaper Russia Award, the head the Department of Culture of Moscow Alexander Kibovsky and the editor-in-chief of The Art Newspaper Russia Milena Orlova opened the ceremony. This year the jewellery company Mercury became the general partner of The Art Newspaper Russia Award. For Mercury, cooperation with the number one art newspaper was a continuation of the company’s strategy to support the most significant cultural events.
  • Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany

    Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany

    University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2018 Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany William Peter Fitz University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Fitz, William Peter, "Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany" (2018). UVM Honors College Senior Theses. 275. https://scholarworks.uvm.edu/hcoltheses/275 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. REACTIONARY POSTMODERNISM? NEOLIBERALISM, MULTICULTURALISM, THE INTERNET, AND THE IDEOLOGY OF THE NEW FAR RIGHT IN GERMANY A Thesis Presented by William Peter Fitz to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Bachelor of Arts In European Studies with Honors December 2018 Defense Date: December 4th, 2018 Thesis Committee: Alan E. Steinweis, Ph.D., Advisor Susanna Schrafstetter, Ph.D., Chairperson Adriana Borra, M.A. Table of Contents Introduction 1 Chapter One: Neoliberalism and Xenophobia 17 Chapter Two: Multiculturalism and Cultural Identity 52 Chapter Three: The Philosophy of the New Right 84 Chapter Four: The Internet and Meme Warfare 116 Conclusion 149 Bibliography 166 1 “Perhaps one will view the rise of the Alternative for Germany in the foreseeable future as inevitable, as a portent for major changes, one that is as necessary as it was predictable.
  • Preserving New Media Art: Re-Presenting Experience

    Preserving New Media Art: Re-Presenting Experience

    Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based,
  • Game Theory Lecture Notes

    Game Theory Lecture Notes

    Game Theory: Penn State Math 486 Lecture Notes Version 2.1.1 Christopher Griffin « 2010-2021 Licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License With Major Contributions By: James Fan George Kesidis and Other Contributions By: Arlan Stutler Sarthak Shah Contents List of Figuresv Preface xi 1. Using These Notes xi 2. An Overview of Game Theory xi Chapter 1. Probability Theory and Games Against the House1 1. Probability1 2. Random Variables and Expected Values6 3. Conditional Probability8 4. The Monty Hall Problem 11 Chapter 2. Game Trees and Extensive Form 15 1. Graphs and Trees 15 2. Game Trees with Complete Information and No Chance 18 3. Game Trees with Incomplete Information 22 4. Games of Chance 24 5. Pay-off Functions and Equilibria 26 Chapter 3. Normal and Strategic Form Games and Matrices 37 1. Normal and Strategic Form 37 2. Strategic Form Games 38 3. Review of Basic Matrix Properties 40 4. Special Matrices and Vectors 42 5. Strategy Vectors and Matrix Games 43 Chapter 4. Saddle Points, Mixed Strategies and the Minimax Theorem 45 1. Saddle Points 45 2. Zero-Sum Games without Saddle Points 48 3. Mixed Strategies 50 4. Mixed Strategies in Matrix Games 53 5. Dominated Strategies and Nash Equilibria 54 6. The Minimax Theorem 59 7. Finding Nash Equilibria in Simple Games 64 8. A Note on Nash Equilibria in General 66 Chapter 5. An Introduction to Optimization and the Karush-Kuhn-Tucker Conditions 69 1. A General Maximization Formulation 70 2. Some Geometry for Optimization 72 3.
  • Participatory Art and Creative Audience Engagement

    Participatory Art and Creative Audience Engagement

    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives.
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture

    The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture

    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
  • Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson a Dissertation Submitted in Partial Fulfillment Of

    Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson a Dissertation Submitted in Partial Fulfillment Of

    Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Jessica Burstein, Chair Carolyn Allen Gillian Harkins Program Authorized to Offer Degree: English ©Copyright 2014 Heather Arvidson University of Washington Abstract Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson Chair of the Supervisory Committee: Associate Professor Jessica Burstein English Department This dissertation reanimates the multiple cultural and aesthetic debates that converged on the word impersonality in the first decades of the twentieth century, arguing that the term far exceeds the domain of high modernist aesthetics to which literary studies has consigned it. Although British and American writers of the 1920s and 1930s produced a substantial body of commentary on the unprecedented consolidation of impersonal structures of authority, social organization, and technological mediation of the period, the legacy of impersonality as an emergent cultural concept has been confined to the aesthetic innovations of a narrow set of writers. “Impersonality and the Cultural Work of Modernist Aesthetics” offers a corrective to this narrative, beginning with the claim that as human individuality seemed to become increasingly abstracted from urban life, the words impersonal and impersonality acquired significant discursive force, appearing in a range of publication types with marked regularity and emphasis but disputed valence and multiple meanings. In this context impersonality came to denote modernism’s characteristically dispassionate tone and fragmented or abstract forms, yet it also participated in a broader field of contemporaneous debate about the status of personhood, individualism, personality, and personal life.
  • THE AMERICAN ART-1 Corregido

    THE AMERICAN ART-1 Corregido

    THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America.
  • Modernism 1 Modernism

    Modernism 1 Modernism

    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
  • Chapter 12. the Avant-Garde in the Late 20Th Century 1

    Chapter 12. the Avant-Garde in the Late 20Th Century 1

    Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
  • Film Film Film Film

    Film Film Film Film

    Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.