The Highs and Lows of Modernism: a Cultural Deconstruction

Total Page:16

File Type:pdf, Size:1020Kb

The Highs and Lows of Modernism: a Cultural Deconstruction The Highs and Lows of Modernism: A Cultural Deconstruction Emma West Thesis submitted for the degree of Doctor of Philosophy (Critical and Cultural Theory) School of English, Communication and Philosophy Cardiff University January 2017 Summary Over the past two decades, scholars have shown that the modernist ‘Great Divide’ between high and low culture is culturally-constructed, reductive and oversimplified. Yet, despite these critical disavowals, the field of modernist studies is still informed by the Divide’s binary systems of evaluation and classification. ‘High’ and ‘low’ texts are studied in isolation and modernism is privileged over popular culture. This thesis argues that we must address the Great Divide’s structure if we are to move beyond it. The Divide is underpinned by three structural myths: that of essence (texts are inherently high or low), mutual exclusivity (texts are either high or low) and precedence (high texts come before low ones). Over the course of four chapters, this study seeks to define, challenge and reconfigure the Great Divide, exploring new approaches which allow us to study texts from across the cultural spectrum together. After an initial chapter which maps out the Great Divide in early-twentieth-century Britain, the following three chapters interrogate the structural myths in turn. Chapter 2 disputes the myth of essence, arguing that both ‘little’ and ‘popular’ magazines are shaped by external factors; Chapter 3 considers travel posters, showing that they exhibit apparently mutually-exclusive aesthetic and publicity functions at once; and Chapter 4 examines the extent to which innovations in mass-market fashion predated their modernist counterparts. Informed by theory but rooted in print culture, this thesis combines cultural history and deconstruction to displace the Great Divide as a system of classification and reinstate it as an object of study. Only by viewing high, low and middlebrow texts together can we trace the effects that socio-economic conditions, prevailing aesthetic norms and audience demands had on a text’s production, circulation and reception. 1 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed Emma West Date 16/01/2017 STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD in Critical and Cultural Theory. Signed Emma West Date 16/01/2017 STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed Emma West Date 16/01/2017 STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed Emma West Date 16/01/2017 STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed Emma West Date 16/01/2017 2 Contents Summary 1 Declaration 2 Contents 3 List of Illustrations 4 Acknowledgements 7 Introduction The ‘Battle of the Brows’: High, Low and Middlebrow in Modern(ist) Britain 9 Chapter 1 ‘a deep and jagged fissure’: Mapping the Great Divide 38 Chapter 2 ‘you , the public’: Norms, Readers and Modern(ist) Magazines 85 Chapter 3 ‘Cubists and Tubists’: Art versus Commerce in Interwar Travel Posters 151 Chapter 4 ‘an art which is wholly of today’: Modernism, Fashion and Cultural Translation 209 Conclusion or, How I Learned to Stop Worrying and Love the Great Divide 251 Works Cited 267 3 List of Illustrations Figure 1.1: D’Ecaville, ‘If you ate acorns’, in Edgar Wallace, ‘Amongst the 45 Highbrows’, Britannia and Eve , 1.6, November 1928 Figure 1.2: Robert Scholes, ‘high and low’, in Paradoxy of Modernism 54 Figure 1.3: Umberto Eco, ‘Revised Semantic Model’, in A Theory of Semiotics 55 Figure 1.4: Umberto Eco, ‘elementary tree’, in A Theory of Semiotics 57 Figure 1.5: Elementary Tree, Binary Semantic Model 57 Figure 1.6: Excerpt from the ‘P eople’ strand, Binary Semantic Model 59 Figure 1.7: Binary Semantic Model, 1890 -1955 67 Figure 1.8: Culture, Binary Semantic Model, 1890 -1955 68 Figure 1.9: People, Binary Semantic Model, 1890 -1955 69 Figure 1.10: Texts, Binary Semantic Model, 1890 -1955 70 Figure 2.1: Excerpt from the ‘texts’ strand, Binary Semantic Model 97 Figure 2.2: Timeline for Selected Periodicals, 1890-1950 (after Brooker and 10 5 Thacker, ‘General Introduction’, p. 22) Figure 2.3: Advertisement for London Correspondence College, London 107 Magazine , September 1920 Figure 2.4: Advertisement for John Hassall School, London Magazine , 107 September 1920 Figure 2.5: Advertisement for Associated Fashion Artists, London Magazine , 108 October 1921 Figure 2.6: Cover, Royal Magazine , January 1921 126 Figure 2.7: Cover, Tyro , 2, 1922 126 Figure 2.8: Cover, Lloyd’s Magazine, November 1920 127 Figure 2.9: Cover, Pearson’s , January 1920 127 4 Figure 2.10: Cover, Royal Magazine , November 1906 129 Figure 2.11: Cover, Royal Magazine, May 1911 129 Figure 2.12: Cover, London Magazine , September 1916 129 Figure 2.13: Cover, London Magazine , May 1918 129 Figure 2.14: Cover, Windsor Magazine , October 1915 129 Figure 2.15: Cover, Windsor Magazine , August 1917 129 Figure 2.16: Cover, Lloyd’s Magazine , January 1921 130 Figure 2.17: ‘“ Tyronic Dialogues —X. and F.”’, Tyro , 2, 1922 133 Figure 2.18: ‘Lipschitz’, Tyro , 2, 1922 134 Figure 2.19: ‘Wadsworth’, Tyro , 2, 1922 134 Figure 2.20: ‘Gossamer for Goddesses’, Royal Magazine , January 1921 136 Figure 2.21: Detail from ‘Gossamer for Goddesses’, Royal Magazine , January 137 1921 Figure 2.22: ‘ESSAY ON THE OBJECTIVE OF PLASTIC ART IN OUR TIME’, 139 Tyro , 2, 1922 Table 1: Comparison of periodical codes in the Royal and the Tyro 147 Figure 3.1: E. McKnight Kauffer, Soaring to Success! Daily Herald – the Early 160 Bird , 1919 Figure 3.2: Excerpt from E. McKnight Kauffer, ‘The Poster and Symbolism’, 161 Penrose Annual , 16, 1924 Figure 3.3: T. D. Kerr, Electrification! , Progress Poster No. 1, Southern, 1925 185 Figure 3.4: T. D. Kerr, Steam! , Progress Poster No. 2, Southern, 1925 185 Figure 3.5: T. D. Kerr, The Viaduct , Progress Poster No. 3, Southern, 1925 185 Figure 3.6: Artist unknown, Margate , Southern, 1925 186 Figure 3.7: Artist unknown, Where the South Downs Slope to the Sea , Southern, 186 1925 Figure 3.8: Algernon Talmage, Aberdeen , LMS, 1924 190 Figure 3.9: Cayley Robinson, British Industries: Cotton , LMS, 1924 191 Figure 3.10: Norman Wilkinson, Galloway , LMS, 1927 197 5 Figure 3.11: Tom Purvis, The Trossachs , LNER, 1926 198 Figure 3.12: Horace Taylor, Gleneagles Hotel , LMS, c1928 19 8 Figure 3.13: Norman Wilkinson, The ‘Coronation Scot’ Ascending Shap Fell, 20 1 Cumbria, 1937 Figure 3.14: Norman Wilkinson, HMY ‘Britannia’ Racing the Yacht ‘Westward’ in 20 1 the Solent, 1935 , undated Figure 4.1: Anna Van Campen Stewart, ‘Fashions’, Good Housekeeping , March 22 7 1923 Figure 4.2 : Pattern No. 40,572, ‘Summer in the Office!’, Modern Weekly , July 2 23 2 1927 Figure 4.3: Anna evening dress, ‘Clothes —and the Woman’, Theatre World , 23 2 October 1927 Figure 4.4: ‘Tess about Town’, Modern Weekly , 2 July 1927 23 4 Figure 4.5: ‘Pockets are Trimmed’, Home Notes , 18 February 1928 236 Figure 4.6: ‘Pride in your Pocket’, Modern Weekly , 2 July 1927 236 Figure 4.7: Madge Garland, ‘Fashions feminine and Otherwise’, Britannia and 242 Eve , November 1929 Figure 4.8: Blanche B. Elliott, ‘Living in One’s Own Times’, Bystander , 22 April 24 3 1931 6 Acknowledgements My first and greatest thanks must go to a man who has become not only a trusted and irreplaceable mentor but also a true friend: my supervisor, Laurent Milesi. Over the last eight years, Laurent has been an unfailing source of support and guidance on all matters academic and otherwise: I cannot express how much I have valued his guidance during the conception, researching and writing of this thesis, as well as during the mammoth task of organising our 2013 Alternative Modernisms conference. His patience, kindness and generosity has been unparalleled throughout; thank you for everything, Laurent. I could not have undertaken this PhD without the support of an Arts and Humanities Research Council (AHRC) Doctoral Award; thank you to the AHRC and to Chris Weedon and Ian Buchanan for giving me feedback on, and acting as references for, that initial application. Thank you to the School of English, Communication and Philosophy for awards for library research and conference attendance, and the British Federation of Women Graduates, who awarded me the Elen Wynn Vanstone Scholarship in 2013; this fund enabled me to undertake the long stretches of primary and archival research that formed the basis for Chapters 2 and 4. In 2012, I was lucky enough to spend 3 months at the Library of Congress, Washington DC, as part of the AHRC’s International Placement Scheme. Particular thanks to Mary Lou Reker, who made my stay at the Kluge Center an absolute pleasure, and Jan Grenci and the team in the Prints and Photographs Division, who spent 12 weeks traipsing between the study room and storeroom in search of every British poster in their collection.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Action Yes, 1(7): 1-17
    http://www.diva-portal.org This is the published version of a paper published in . Citation for the original published paper (version of record): Bäckström, P. (2008) One Earth, Four or Five Words: The Notion of ”Avant-Garde” Problematized Action Yes, 1(7): 1-17 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89603 ACTION YES http://www.actionyes.org/issue7/backstrom/backstrom-printfriendl... s One Earth, Four or Five Words The Notion of 'Avant-Garde' Problematized by Per Bäckström L’art, expression de la Société, exprime, dans son essor le plus élevé, les tendances sociales les plus avancées; il est précurseur et révélateur. Or, pour savoir si l’art remplit dignement son rôle d’initiateur, si l’artiste est bien à l’avant-garde, il est nécessaire de savoir où va l’Humanité, quelle est la destinée de l’Espèce. [---] à côté de l’hymne au bonheur, le chant douloureux et désespéré. […] Étalez d’un pinceau brutal toutes les laideurs, toutes les tortures qui sont au fond de notre société. [1] Gabriel-Désiré Laverdant, 1845 Metaphors grow old, turn into dead metaphors, and finally become clichés. This succession seems to be inevitable – but on the other hand, poets have the power to return old clichés into words with a precise meaning. Accordingly, academic writers, too, need to carry out a similar operation with notions that are worn out by frequent use in everyday language.
    [Show full text]
  • An Art Appreciation Approach on Analyzing Form and Content of Malay Culture of Symbols in Malaysian Painting Year 1980-1990
    International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 7, July, 2020, E-ISSN: 2222-6990 © 2020 HRMARS An Art Appreciation Approach on Analyzing Form and Content of Malay Culture of Symbols in Malaysian Painting Year 1980-1990 Liza Marziana Mohammad Noh, Nadzri Hj. Mohd Sharif, Sharmiza Abu Hassan, Adam Wahida, Ohm Pattanachoti To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i7/7457 DOI:10.6007/IJARBSS/v10-i7/7457 Received: 06 April 2020, Revised: 09 May 2020, Accepted: 29 June 2020 Published Online: 30 July 2020 In-Text Citation: (Noh et al., 2020) To Cite this Article: Noh, L. M. M., Sharif, N. H. M., Hassan, S. A., Wahida, A., & Pattanachoti, O. (2020). An Art Appreciation Approach on Analysing Form and Content of Malay Culture of Symbols in Malaysian Painting Year 1980-1990. International Journal of Academic Research in Business and Social Sciences, 10(7), 553–558. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 7, 2020, Pg. 553 - 558 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 553 International Journal of Academic Research in Business and Social Sciences Vol.
    [Show full text]
  • Pop Surrealism: the Rise of Underground Art by Kirsten Anderson Ebook
    Pop Surrealism: The Rise of Underground Art by Kirsten Anderson ebook Ebook Pop Surrealism: The Rise of Underground Art currently available for review only, if you need complete ebook Pop Surrealism: The Rise of Underground Art please fill out registration form to access in our databases Download here >> Hardcover:::: 156 pages+++Publisher:::: Last Gasp; First Edition edition (September 1, 2004)+++Language:::: English+++ISBN-10:::: 0867196181+++ISBN-13:::: 978-0867196184+++Product Dimensions::::10.5 x 0.8 x 10.5 inches++++++ ISBN10 0867196181 ISBN13 978-0867196 Download here >> Description: First comprehensive survey of the Pop Surrealism/Lowbrow art movement. With its origins in 1960s hot rod culture and underground comics, Pop Surrealism has evolved into a vilified, vital, and exciting art movement. Includes: * informative essays by art luminaries Robert Williams, Carlo McCormick, and Larry Reid * a forward by Kirsten Anderson * images from twenty-three of the movments top artists including: Anthony Ausgang, Glenn Barr, Tim Biskup, Kalynn Campbell, The Clayton Brothers, Joe Coleman, Camille Rose Garcia, Alex Gross, Charles Krafft, Liz McGrath, Scott Musgrove, Niagara, The Pizz, Lisa Petrucci, Mark Ryden, Isabel Samaras, Todd Schorr, Shag, Robert Williams, and Eric White. Good resource that scratched the surface of the Pop Surrealist movement and dug a bit deeper - good starting point for anyone interested in the genre. Covers about two dozen artists. Pop Surrealism: The Rise of Underground Art in pdf books Pop Surrealism: The Rise of Underground Art Art The Rise of Pop Surrealism: Underground at least until I got to the last two stories. The one main negative I'd have is perhaps the order of things.
    [Show full text]
  • Henry Varnum Poor: Commemorating 125 Years
    Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great.
    [Show full text]
  • The Maternal Body of James Joyce's Ulysses: the Subversive Molly Bloom
    Lawrence University Lux Lawrence University Honors Projects 5-29-2019 The aM ternal Body of James Joyce's Ulysses: The Subversive Molly Bloom Arthur Moore Lawrence University Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Literature in English, British Isles Commons © Copyright is owned by the author of this document. Recommended Citation Moore, Arthur, "The aM ternal Body of James Joyce's Ulysses: The ubS versive Molly Bloom" (2019). Lawrence University Honors Projects. 138. https://lux.lawrence.edu/luhp/138 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. THE MATERNAL BODY OF JAMES JOYCE’S ULYSSES: The Subversive Molly Bloom By Arthur Jacqueline Moore Submitted for Honors in Independent Study Spring 2019 I hereby reaffirm the Lawrence University Honor Code. Table of Contents Acknowledgements Introduction ................................................................................................................ 1 One: The Embodiment of the Maternal Character..................................................... 6 To Construct a Body within an Understanding of Male Dublin ................................................. 7 A Feminist Critical Interrogation of the Vital Fiction of Paternity ........................................... 16 Constructing the Maternal Body in Mary Dedalus and Molly Bloom .....................................
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Direct PDF Link for Archiving
    Kurt E. Rahmlow “The admiration one feels for something strange and uncanny”: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016) Citation: Kurt E. Rahmlow, “‘The admiration one feels for something strange and uncanny’: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon,” Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016), http://www. 19thc-artworldwide.org/spring16/rahmlow-on-impressionism-symbolism-steichen-1905- london-photographic-salon. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Rahmlow: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016) “The admiration one feels for something strange and uncanny”: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon by Kurt E. Rahmlow In August 1904, Alfred Horsley Hinton (1863–1908), editor of the British periodical Amateur Photographer and a founding member of the London-based art photography club the Brotherhood of the Linked Ring (hereafter Linked Ring), wrote to Alfred Stieglitz (1864–1946) to critique recent photographs by Edward Steichen (1879–1973). In the note, Hinton remarks, I admire Steichen’s work for myself but it is the admiration one feels for something strange and uncanny—I can’t think that such work is healthy or would in this country have a beneficial influence. Many, nay most, of his things were very well exhibited to his fellow artists in his studio.
    [Show full text]
  • Aesthetic Investigations Vol 1, No 1 (2016), I-Ix Art and the Vulnerability of Subjectivity
    Art and the Vulnerability of Subjectivity. Author Affiliation Rob van Gerwen University Utrecht I. ART ¨ASH¨H SCIENCE Treating art as a science would either bash the distinction between the two or be a contradiction in terms. We may compare art with science, but must not understand it as science. In my view, modern science brought subjectivity into trouble, whereas art itself has the subjective as its main motivating force. For one, narrative arts like novels, theatre plays, and films tell stories, and are acclaimed for conveying the subjective aspect of events. Next, artistic creativity, whether in music, or indeed in any art form, aims at regulating the appreciative experience. Lastly, to assess a work’s artistic merit is to look for the artist’s achievement, which involves looking for the way they realised their intentions with their audiences. It is thus that one wants to say that art is concerned with the subjective, and that one wants to distinguish it sharply from how sciences treat their subject matters. Science aims for quan- tification and universalisation, applying its objectivist methodologies while conveying the thought that all knowledge hangs together—and that it be ob- jectivist. In the Enlightenment, our world view was not only mechanised but also objectified. Art and aesthetics responded by dedicating themselves to the subjective. Art is not a science: no art is turned redundant by successive developments in art; the arts do not form a logical whole, though art practice forms a pragmatic whole; no art form consists as a quantifiable whole, but presents a phenomenological set of specifications for artists and spectators; no work of art forms a quantifiable whole, and none can be paraphrased without serious c Aesthetic Investigations Vol 1, No 1 (2016), i-ix Art and the Vulnerability of Subjectivity.
    [Show full text]
  • An Exploration of the Symbolism of the Heart in Art Transcript
    Affairs of the Heart: An Exploration of the Symbolism of the Heart in Art Transcript Date: Tuesday, 14 February 2017 - 6:00PM Location: Museum of London 14 February 2017 Affairs of the Heart: An Exploration of the Symbolism of the Heart in Art Professor Martin Elliott and Dr Valerie Shrimplin Welcome to the Museum of London for this St Valentine’s Day lecture. Valentine’s Day is a day for romance, flowers, chocolate and, of course, hearts. My connection with the heart is both obvious and by now well known; it has been the overall theme of my series of lectures. Even the Gresham grasshopper has a heart. Actually, it has many hearts…segmentally along its aorta. Once again, I am delighted to be speaking in front of what is always a special Gresham audience. I love the Gresham audience. My heart has been pierced! That single image of a pulsating heart is a symbol; something used to signify ideas and qualities. The images acquire symbolic meanings that are different from their literal sense. A picture is worth a thousand words, and you instantly grasp the meanings of these symbols, without the use of words. How these symbols have evolved and came to have such instant and effective meaning is what we are to discuss this evening. I am delighted and honoured to share the delivery of this talk with Dr Valerie Shrimplin, who many of you will know is the Registrar of Gresham College. She is also (fortunately for all of us, and especially me) a card- carrying art historian with a particular interest in the symbolism of the heart in art.
    [Show full text]
  • “Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
    “Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’
    [Show full text]