ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London

Total Page:16

File Type:pdf, Size:1020Kb

ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London 09/30/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London ELCS6005: Raging Broom of Madness: View Online Futurism and Modernity Not all books listed are in the UCL Library. You may need to use the library at the Estorick Gallery or the Art History Library at the Victoria and Albert Museum. I can issue students letters for these institutions on request. Altshuler B, ‘Chapter 2 Cubism Meets the Public’, The avant-garde in exhibition: new art in the 20th century (Harry N Abrams 1994) ——, ‘Chapter 5 The Last Futurist Exhibition, Petrograd, December 1915-January 1916’, The avant-garde in exhibition: new art in the 20th century (Harry N Abrams 1994) ——, ‘Les Peintres Futuristes Italiens, Paris, 1912’, Salon to biennial: exhibitions that made art history : 1863-1959 (Phaidon 2008) Antliff M and Leighten PD, Cubism and Culture, vol World of art (Thames & Hudson 2001) Antonello PP, ‘Beyond Futurism: Bruno Munari’s “Useless Machines”’, Futurism and the technological imagination, vol Avant garde critical studies (Rodopi 2009) Apollinaire G, ‘L’anti-Tradition Futuriste’, Marinetti e i futuristi, vol Strumenti di studio (1 ed, Garzanti 1994) Apollonio U, Futurist Manifestos, vol [The world of art library ; modern movements] (Thames and Hudson 1973) Balla G and others, Balla, Depero: Ricostruzione Futurista Dell’universo (Fonte d’Abisso edizioni 1989) Balla G and Depero F, ‘Futurist Reconstruction of the Universe’, Futurist manifestos, vol [The world of art library ; modern movements] (Thames and Hudson 1915) Banham R, ‘Arts in Society: “Fiat: The Phantom of Order”’ (18AD) 72 New society 86 ——, Theory and Design in the First Machine Age (2nd ed, MIT Press 1980) ——, ‘Sant’Elia’, Design by choice, vol Ideas in architecture (Academy 1981) Bartram A, Futurist Typography and the Liberated Text (British Library 2005) ‘Beinecke Rare Book and Manuscript Library’ <http://www.library.yale.edu/beinecke/> Benjamin W, ‘The Work of Art in the Age of Mechanical Reproduction’, Illuminations (Cape 1970) 1/9 09/30/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London Berger J, ‘Cubism’, The moment of Cubism: and other essays (Weidenfeld and Nicolson 1969) Berghaus G, Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909-1944 (Berghahn Books 1996) Berghaus G, ‘Futurism, Dada, and Surrealism’, International futurism in arts and literature, vol European cultures (Walter de Gruyter 2000) Berghaus G, International Futurism in Arts and Literature, vol European cultures (Walter de Gruyter 2000) ——, International Futurism in Arts and Literature, vol European cultures (Walter de Gruyter 2000) ——, Futurism and the Technological Imagination, vol Avant garde critical studies (Rodopi 2009) Berghaus G, ‘Futurism and the Technological Imagination: Poised between Machine Cult and Machine Angst’, Futurism and the technological imagination, vol Avant garde critical studies (Rodopi 2009) Berghaus G and Society for Italian Studies, The Genesis of Futurism: Marinetti’s Early Career and Writings 1899-1909, vol Occasional papers (Society for Italian Studies 1995) Berman M, All That Is Solid Melts into Air (Simon and Schuster 1982) Bishop C, ‘Bring the Noise’ Tate Etc. 30 <http://search.proquest.com/docview/1320338266> Blum CS, The Other Modernism: F.T. Marinetti’s Futurist Fiction of Power (University of California Press 1996) Boccioni U and others, ‘Futurist Painting: Technical Manifesto’, Futurist manifestos, vol [The world of art library ; modern movements] (Thames and Hudson 1910) ——, ‘Manifesto of Futurist Painters’, Futurist manifestos, vol [The world of art library ; modern movements] (Thames and Hudson 1910) Boccioni U and Fezzi E, Umberto Boccioni, vol Collana disegnatori italiani (A Martello 1973) Bourke J, An Intimate History of Killing: Face-to-Face Killing in Twentieth-Century Warfare (Basic Books 1999) Braun E and others, Italian Art in the 20th Century: Painting and Sculpture 1900-1988 (Royal Academy of Arts 1989) Braun M, Picturing Time (University of Chicago Press 1992) Carra C, ‘The Painting of Sounds, Noises and Smells (11 August 1913)’, Futurist manifestos 2/9 09/30/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London , vol [The world of art library ; modern movements] (Thames and Hudson 1973) ‘Centre Pompidou’ <http://www.centrepompidou.fr/> Coen E and Metropolitan Museum of Art (New York, N.Y.), Umberto Boccioni (Metropolitan Museum of Art 1988) Cooper H and others, Medardo Rosso: Second Impressions (Yale University Press 2003) Danchev A, 100 Artists’ Manifestos: [from the Futurists to the Stuckists], vol Penguin modern classics (Penguin 2011) Dondi L and De Maria L, Marinetti E I Futuristi, vol Strumenti di studio (1 ed, Garzanti 1994) Doordan DP, Building Modern Italy: Italian Architecture, 1914-1936 (Princeton Architectural Press 1988) Dottori G and Duranti M, Gerardo Dottori: Catalogo Generale Ragionato (Effe 2006) Elia A D’, L’universo Futurista: Una Mappa, Dal Quadro Alla Cravatta, vol Nuova biblioteca Dedalo (Edizioni Dedalo 1988) ‘Estorick Collection’ <http://www.estorickcollection.com/home.php> Facos M and Hirsh SL, Art, Culture, and National Identity in Fin-de-Siècle Europe (Cambridge University Press 2003) Foster H, Art since 1900: Modernism, Antimodernism, Postmodernism (Thames & Hudson 2004) Fraquelli S and others, Radical Light: Italy’s Divisionist Painters, 1891-1910 (National Gallery Company 2008) Fraser M and Kerr J, ‘Motopia: Cities, Cars and Architecture’, Autopia: cars and culture (Reaktion 2002) ‘Futurism and the Past Project’ <http://www.futurismandthepast.com/page6.htm> ‘Getty Museum (Los Angeles)’ <http://www.getty.edu/index.html> Gherado D, ‘Chapter 6 Inventing the Palazzo Del Corte in Ferrara’, Donatello among the Blackshirts: history and modernity in the visual culture of Fascist Italy (Cornell University Press 2005) Gilloch G and Benjamin W, Myth and Metropolis: Walter Benjamin and the City (Polity Press, in association with Blackwell Publishers 1996) Golding J, Boccioni, Unique Forms of Continuity in Space, vol Tate modern masterpieces (Tate Gallery 1985) 3/9 09/30/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London Gramsci A, ‘Marinetti the Revolutionary?’, Selections from cultural writings (Lawrence and Wishart) Greene V, Deutsche Guggenheim Berlin and Solomon R. Guggenheim Museum, Divisionism, Neo-Impressionism: Arcadia & Anarchy (Guggenheim Museum 2007) ‘Guggenheim (NYC)’ <http://www.guggenheim.org/> Hanson AC and others, Severini Futurista, 1912-1917 (Yale University Art Gallery 1995) Howlett J and Mengham R, The Violent Muse: Violence and the Artistic Imagination in Europe, 1910-1939 (Manchester University Press 1994) Hulten P, Futurism and Futurisms (Thames and Hudson 1992) Hultén P, Palazzo Grassi and Futurismo & futurismi (Exhibition) (1986 : Venice, Italy), Futurism & Futurisms (Thames and Hudson 1987) Humphreys R and Tate Gallery, Futurism, vol Movements in modern art (Tate Gallery 1999) Kern S, The Culture of Time and Space, 1880-1918: With a New Preface (Harvard University Press 2003) Kolocotroni V, Goldman J and Taxidou O, Modernism (Paperback, Edinburgh University Press 2004) Korner A, ‘Chapter 10 Conclusions and Epilogue: Modernity, the Political Power of Culture and the Collapse of Liberal Democracy’, Politics of culture in liberal Italy: from unification to fascism, vol Routledge studies in modern European history (Routledge 2009) Le Bon G, The Crowd: A Study of the Popular Mind (Ernest Benn 1896) Levi E, ‘Futurist Influences on Early Twentieth-Century Music’, International futurism in arts and literature, vol European cultures (Walter de Gruyter 2000) Lista G and Estorick Collection, Futurism & Photography (Merrell 2001) Lunn F, ‘City of Angles. Kirchner’ [2003] RA: The magazine for the friends of the Royal Academy Lynton N, The Story of Modern Art (2nd ed, Phaidon 1989) Lyttelton A and Parmée D, Italian Fascisms, from Pareto to Gentile, vol Roots of the Right, readings in fascist, racist and elitist ideology (Cape 1973) Malvano L, ‘De « La Fiumana dell’Umanità Assetata Di Giustizia » à La Foule Consensuelle Du Fascisme : à Propos de La Représentation de La Foule En Peinture’ [1AD] Laboratoire italien 95 Marchio R, ‘The Vortex in the Machine: Futurism in England’, International futurism in arts 4/9 09/30/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London and literature, vol European cultures (Walter de Gruyter 2000) Marinetti FT, ‘Le Futurisme’ (20AD) 55th year, 3rd Series Le Figaro 1 ——, ‘Battle Weight + Smell’, Selected poems and related prose (Yale University Press 2002) Marinetti FT, ‘The Founding and Manifesto of Futurism 1909’, Modernism (Paperback, Edinburgh University Press 2004) Marinetti FT, ‘Electric War’, Critical writings (Farrar, Straus, and Giroux 2006) ——, ‘War, the Sole Cleanser of the World’, Critical writings (Farrar, Straus, and Giroux 2006) Marinetti FT and others, Selected Poems and Related Prose (Yale University Press 2002) Marinetti FT and others, ‘Against Passeist Venice’, Futurism: an anthology (Yale University Press 2009) Marinetti FT and Berghaus G, Critical Writings (Farrar, Straus, and Giroux 2006) Markov V, Russian Futurism : A History (MacGibbon & Kee 1969) Martin MW, ‘Futurism, Unanimism and Apollinaire’ 28 Art Journal 258 <http://www.jstor.org/stable/775248?seq=1#page_scan_tab_contents> ——, Futurist Art and Theory 1909-1915 (Clarendon P 1968) ‘MART (Rovereto)’ <http://www.mart.trento.it/>
Recommended publications
  • Futurism-Anthology.Pdf
    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
    [Show full text]
  • Russian Constructivism
    De Stijl in the Netherlands Russian Constructivism 26 Constructivism was an artistic and architectural movement that originated in Russia from 1919 onward which rejected the idea of "art for art's sake" in favour of art as a practice directed towards social purposes and uses. Constructivism as an active force lasted until around 1934, having a great deal of effect on developments in the art of the Weimar Republic (post world war one Germany) and elsewhere, before being replaced by Socialist Realism. Its motifs have sporadically recurred in other art movements since. It had a lasting impact on modern design through some of its members becoming involved with the Bauhaus group. Constructivism had a particularly lasting effect on typography and graphic design. Constructivism art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program. Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes.
    [Show full text]
  • Futurism's and Dadaism's Popular Mechanics
    MIT 4.602, Modern Art and Mass Culture (HASS-D/CI) Spring 2012 Professor Caroline A. Jones Notes History. Theory and Criticism Section. Department of Architecture Lecture 12 NEW SUBJECTS FOR MODERNITY: Lecture 12: Futurism's and Dadaism's Popular Mechanics I. Picasso's exorcism and its import for "peripheral" Europeans: the sign and/or the fetish II. Futurist Programs (Avant-Garde in celebration of war and the state) A. Approaching the Great War: ..... the world's only hygiene" 1 ) the poet Marinetti in Ie Figaro, Paris, 20 February 1909 2) the poet D'Annunzio's flights over Trieste (winter 1915-16), expanding to Vienna (1918-19) - propaganda as cultural war 3) Italian Irredentism, "parole in Liberta," and fascist modernism B. Speed, dynamism, and simultaneity 1) The visual culture of technology's impact on the body 2) The futurist fetish: the externally hardened and artificially stabilized body, enhanced by its "other" III. Dadas at large (Avant-Garde in critique of war and the state) A. Cosmopolitan cities, the Avant-Garde in exile, and the anti-commodity fetish 1) Zurich, Berlin, New York, Hannover, Barcelona ... 2) The dadaist fetish: prosthetics and eroticism, a destabilized body B. Tactics - Performance, journalislTI, art objects, exhibition events, montage, politics 1) Performance (1916-19, Ball, Tzara) 2) From collage to montage (1919-40s, Hausmann, Hoch, Heartfield) 3) "Dada Messe" (1920) - Int'I Dada Fair, a new kind of market? 4) Dada environment in exile (1920s-40s, Schwitters' Merzbau) Images (selected) for Lecture 14 unspecified medium=oil on canvas Futurism Carlo Carra, Absinthe Drinker. 1911 Carra. 10lts of a Cab, 1911 Carra, Interventionist Demonstration 1914 (collage) Filippo Tomasso Marinetti, "A Tumultuous Assembly," Les mots en liberte futuristes, 1919 (poem) Marinetti Parole in Liberta, 1932 (poem) Giacomo Balla.
    [Show full text]
  • Movement‐Based Influence: Resource Mobilization, Intense
    Sociological Forum, Vol. 34, No. 1, March 2019 DOI: 10.1111/socf.12479 © 2018 Eastern Sociological Society Movement-Based Influence: Resource Mobilization, Intense Interaction, and the Rise of Modernist Architecture Mauro F. Guillen1 and Randall Collins2 We argue that the long-term influence of actors in fields of cultural production depends on the opportunities for resource mobilization offered by external conditions combined with intense interaction among actors. Using a unique data set of 1,143 architects active between 1890 and 1940, at a time of large-scale socioeco- nomic transformations and political disruption, we find by multiple regression analysis that exposure to industrialization and political upheaval, and halo effects in an architect’s network of collaborators predict greater ultimate impact, while urbanization and professional affiliations do not. Theory of social movements and theory of cultural production thus have important implications for each other. KEYWORDS: architecture, halo effect; cultural production; networks, professions; social movements. INTRODUCTION The sociology of cultural production has deployed resource mobilization the- ory (McAdam, McCarthy, and Zald 1996; Meyer and Staggenborg 1996) to exam- ine the extent to which artistic movements become influential across space and time. Cultural entrepreneurs face a certain opportunity set that they only exploit if they can generate a shared understanding of the situation, develop a strategy for action, and mobilize resources from key sponsors and organizations (DiMaggio 1982; Jas- per 1997). Jasper (1997) proposed that social movements involve resources, strategy, biography, and culture. Resources include material and intangible support, which in cultural production fields typically come from Maecenas or the state. Strategies are the “choices made by individuals and organizations in their interactions with other players, especially opponents” (Jasper 1997:44).
    [Show full text]
  • 1914 the Avant-Gardes at War 8 November 2013 – 23 February 2014
    1914 The Avant-Gardes at War 8 November 2013 – 23 February 2014 Media Conference: 7 November 2013, 11 a.m. Content 1. Exhibition Dates Page 2 2. Information on the Exhibition Page 4 3. Wall Quotations Page 6 4. List of Artists Page 11 5. Catalogue Page 13 6. Current and Upcoming Exhibitions Page 14 Head of Corporate Communications/Press Officer Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] Exhibition Dates Duration 8 November 2013 – 23 February 2013 Director Rein Wolfs Managing Director Dr. Bernhard Spies Curator Prof. Dr. Uwe M. Schneede Exhibition Manager Dr. Angelica C. Francke Dr. Wolfger Stumpfe Head of Corporate Communications/ Sven Bergmann Press Officer Catalogue / Press Copy € 39 / € 20 Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission 1914 and Missing Sons standard / reduced / family ticket € 10 / € 6.50 / € 16 Happy Hour-Ticket € 6 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (for individuals only) Advance Ticket Sales standard / reduced / family ticket € 11.90 / € 7.90 / € 19.90 inclusive public transport ticket (VRS) on www.bonnticket.de ticket hotline: T +49 228 502010 Admission for all exhibitions standard / reduced / family ticket € 16/ € 11 / € 26.50 Audio Guide for adults € 4 / reduced € 3 in German language only Guided Tours in different languages English, Dutch, French and other languages on request Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] (ever both exhibitions: 1914 and Missing Sons) Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile.
    [Show full text]
  • Vita Futurista
    ΠΑΝΕΠΙ΢ΣΗΜΙΟ ΘΕ΢΢ΑΛΙΑ΢ ΢ΦΟΛΗ ΕΠΙ΢ΣΗΜΩΝ ΣΟΤ ΑΝΘΡΩΠΟΤ ΣΜΗΜΑ Ι΢ΣΟΡΙΑ΢, ΑΡΦΑΙΟΛΟΓΙΑ΢ ΚΑΙ ΚΟΙΝΩΝΙΚΗ΢ ΑΝΘΡΩΠΟΛΟΓΙΑ΢ Γιάννης Πέτκος Vita Futurista Γενεαλογίες του φουτουριστικού ο κινητισμού στον 19 αιώνα Διπλωματική εργασία Μεταπτυχιακό Πρόγραμμα Σπουδών «Διεπιστημονικές Προσεγγίσεις στις Ιστορικές, Αρχαιολογικές και Ανθρωπολογικές Σπουδές» Επόπτες Καθηγητές Επίκ. Καθ.: Μήτσος Μπιλάλης Επίκ. Καθ.: Ιωάννα Λαλιώτου Βόλος 2015 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Σ’ αυτούς που τολμούν να ονειρευτούν και ν’ αποτύχουν 1 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 2 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Ζ άκεζε απηνπαξαηήξεζε απέρεη πνιχ απφ ην λα καο νδεγεί ζηελ απηνγλσζία: ρξεηαδφκαζηε ηελ ηζηνξία δηφηη ην παξειζφλ ζπλερίδεη λα θπιά κέζα καο κε εθαηφ θχκαηα. Φ. Νίηζε 3 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 4 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Περιεχόμενα Ευχαριστίες 7 Ένας κόσμος σε κίνηση 9 Προβληματική της κίνησης 17 Μοντέρνα αντίληψη: μια κινούμενη εικόνα 23 Περπατώντας (και καυγαδίζοντας) στο Παρίσι 28 Από τις οπτικές ψευδαισθήσεις στην 4η διάσταση 40 Cinématism 58 Υουτουριστική σύνοψη 83 Εξομολογητική αποφώνηση υπό τη μορφή συλλογής 85 απομνημονευμάτων Πηγές εικόνων 87 Βιβλιογραφία 93 Υιλμογραφία 105 5 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 6 Institutional Repository - Library & Information Centre - University of Thessaly 10/01/2018 01:46:45 EET - 137.108.70.7 Ευχαριστίες Αλ αξρίζσ λα ςάρλσ απαξρέο απφ δσ, ζα πξέπεη πξψηα λα επραξηζηήζσ ηνπο κεγάινπο επεξγέηεο ηεο δσήο κνπ: ηε κεηέξα κνπ, ηνπο Metallica θαη ηνλ Νίηζε.
    [Show full text]
  • Paintings by Streeter Blair (January 12–February 7)
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • URBAN ISLANDS Vol 1
    Urban Island (n): a post industrial site devoid of program or inhabitants; a blind spot in the contemporary city; an iconic ruin; dormant infrastructure awaiting cultural inhabitation. ii iii iv v vi CUTTINGS URBAN ISLANDS vol 1 EDITED BY JOANNE JAKOVICH Copyright URBAN ISLANDS vol 1 : CUTTINGS Published by SYDNEY UNIVERSITY PRESS University of Sydney Library www.sup.usyd.edu.au © 2006 Urban Islands Project: Joanne Jakovich , Olivia Hyde, Thomas Rivard © of individual chapters is retained by the contributors Editor: Joanne Jakovich [email protected] Preface: GEOFF BAILEY Assistant Editors: Jennifer Gamble, Jane HYDE layout: Joanne Jakovich photography: kota arai Cover Design: Olivia Hyde Cover Photo: Samantha Hanna PART III Design: Nguyen Khang Tran (Sam) URBAN ISLANDS PROJECT WWW.URBANISLANDS.INFO I NAUGURAL URBAN ISLANDS STUDIO , REVIEW + SYMPOSIUM ORGANISED BY : OLIVIA HYDE, THOMAS RIVARD, JOANNE JAKOV ICH & I NGO KUMIC, AUGUST 2006 Reproduction and Communication for other purposes : Except as permitted under the Act, no part of this edition may b e reproduced, stored in a retrieval system, or communicated in any form or by any means without prior written permission. All requests for reproduction or communication should be made to Sydney University viii Copyright Press at the address b elow: Sydney University Press Fisher Library F03 University of Sydney NSW 2006 AUSTRALIA Email: [email protected] ISBN 1–920898–55–7 Individual papers are available electronically through the Sydney e-Scholarship Repository at: ses.library.usyd.edu.au Printed in Australia at the University Publishing Service, University of Sydney. ix PREFACE Describing Cockatoo Island as a post-industrial site is a little like examining a Joseph Cornell box and not noticing its contents.
    [Show full text]
  • The University of Chicago Kazimir Malevich And
    THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein,
    [Show full text]
  • 02Futurism, Dada, Constructivism.Pptx
    Futurism Boccioni, Unique Forms of Continuity in Space, bronze, 1913 Nike (Victory) of Samothrace, 2nd cent. BC marble, Louvre “A roaring car …is more beautiful - Movement / speed than the Victory of (Bergson on time/duration) Samothrace.” (F.T.Marinetti, Futurist - Body-machine Manifesto, 1909) Umberto Boccioni, Futurist Evening in Milan, 1911 Luigi Russolo, Noise makers (Intonarumori), 1910-­‐1913 Depero, Marine�, Cangiullo, 1914 Giacomo Balla, An�-­‐ Neutral Clothing Manifesto, 1914 Marinetti, founding and manifesto of Futurism, Le Figaro, Paris, February 20, 1909 -­‐ Art as poli�cs -­‐ Against the idea of “Culture” -­‐ Celebra�on of technology/modernity From: Filippo Tommaso Marine�, The Foundin and Manifesto of Futurism, Published in LE FIGARO of Paris, February 20, 1909 1. We want to sing the love of danger, the habit of energy and rashness. 2. The essen�al elements of our poetry will be courage, audacity and revolt. 3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-­‐gun fire, is more beau�ful than the Victory of Samothrace. 5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit. 6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusias�c fervor of the primordial elements.
    [Show full text]
  • Gino Severini and the Symbolist Aesthetics of His
    GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD (Under the Direction of Evan Firestone) ABSTRACT This thesis examines Gino Severini’s dance imagery produced between 1910 and 1915 and its relationship to late nineteenth- and early twentieth-century Symbolism. It is proposed in this paper that the influence of Symbolism, including the phenomenon of synesthesia, was a consistent presence throughout Severini’s artistic production during this period. Surrounded by artists and writers within the neo-Symbolist milieu of Paris, Severini was introduced to Symbolist literature and contemporary philosophy, both of which influenced his approach to Futurism. The resultant amalgamation of Symbolist and Futurist aesthetic theories is analyzed in the context in which these dance images were produced. Taking into consideration Severini’s personal and artistic relationships, along with his theoretical writings, a more complete understanding of his Futurist works from this period is possible. INDEX WORDS: Gino Severini, Severini, Futurism, Symbolism, Dance GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD B.A.F.A., The University of New Mexico, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements of the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Shannon N. Pritchard All Rights Reserved GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD Major Professor: Evan Firestone Committee: Janice Simon Shelley Zuraw Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2003 DEDICATION I dedicate this thesis to my mother, Marian Pritchard, for without her unwavering support and understanding this would not have been possible.
    [Show full text]
  • The City Rises and the Futurist City
    The City Rises and the Futurist City ROSS JENNER University of Auckland Despite its offering littleactual technical information (what is being built cannot even bededuced) and few cluesas to locality otherthan the new metropolitan reality that rises from the violent industrialisation and urbanisation ofthe outskirts (the reality that dominates the Futurist poetic), Boccioni's painting,Tlle Cig Rises, nevertheless, offers key glimpses into Futurist thinking about architecture. The building site depicted is more than a setting of work, it is a setting to work, the building of a site. Boccioni strains towards a future through an image of labor and traffic that sets to work every molecule within the confines of the canvas. The figures and animals strain to pull components but are themselves pulled into a swirling world of force lines that leaves no detached viewpoint or frame. The site of the future is being built. Totally immersed in urban life the city was the source of Futurist inspiration. In that it condensed and produced a new reality from it, Futurism was the first avant garde movement directly toconfront the problematic of urban development and make the city the privileged site of modernity. klarinetti eulogised this city in his Founding Fig. 1. Boccioni The City Rues (La citti che sale), 1909-10. Manifesto of I C)W: We will sing of great croads excited by work, by pleasure, and by riot; ue will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we mill sing of the vibrant nightly fervor of arsenals and
    [Show full text]