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Shaping the Avant-Garde : the Reception of Soviet Constructivism by the American Art Journal ’October’
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2019 Shaping the avant-garde : the reception of Soviet constructivism by the American art journal ’October’ Müller, Pablo DOI: https://doi.org/10.1093/oxfordhb/9780190885533.013.10 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-181317 Scientific Publication in Electronic Form Published Version Originally published at: Müller, Pablo (2019). Shaping the avant-garde : the reception of Soviet constructivism by the American art journal ’October’. New York: Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780190885533.013.10 Shaping the Avant-Garde: The Reception of Soviet Constructivism by the American Art Journal October Shaping the Avant-Garde: The Reception of Soviet Con structivism by the American Art Journal October Pablo Müller The Oxford Handbook of Communist Visual Cultures Edited by Aga Skrodzka, Xiaoning Lu, and Katarzyna Marciniak Subject: Literature, Literary Theory and Cultural Studies, Literary Studies - 20th Century On wards Online Publication Date: Aug 2019 DOI: 10.1093/oxfordhb/9780190885533.013.10 Abstract and Keywords Soviet Constructivism is a central reference for the American art journal October (founded in 1976 and still in print today). This article discusses the ways in which October refers to that historical art movement, while overlooking some of its key political aspira tions. Especially during the journal’s founding years, the discursive association with Sovi et Constructivism served to bestow criticality, urgency, and sociopolitical relevance on the American art journal. Furthermore, with the reference to Sergei Eisenstein and Dziga Vertov, in particular, the October protagonists have positioned themselves in a specific manner within mid-1970s art critical discourse in the United States. -
Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
Excavating the Page: Virtuosity and Illusionism in Italian Book Illumination, 1460–1520 Nicholas Herman Available Online: 02 Aug 2011
This article was downloaded by: [Metropolitan Museum of Art] On: 08 August 2011, At: 08:06 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Word & Image Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/twim20 Excavating the page: virtuosity and illusionism in Italian book illumination, 1460–1520 Nicholas Herman Available online: 02 Aug 2011 To cite this article: Nicholas Herman (2011): Excavating the page: virtuosity and illusionism in Italian book illumination, 1460–1520, Word & Image, 27:2, 190-211 To link to this article: http://dx.doi.org/10.1080/02666286.2010.526289 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan, sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Excavating the page: virtuosity and illusionism in Italian book illumination, – NICHOLAS HERMAN So we must advance from the concrete whole to the several These pictorial layers, their distance relative to the viewer, constituents which it embraces; for it is the concrete whole and their progression from literal presence (the clusters of jew- that is the more readily recognizable by the senses. -
A Finding Aid to the Jack Brogan Papers, 1968-2016, Bulk 1971-2009, in the Archives of American Art
A Finding Aid to the Jack Brogan Papers, 1968-2016, bulk 1971-2009, in the Archives of American Art Rayna Andrews Funding for the processing of this collection was provided by Gerald and Bente Buck. 2018/05/24 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1973-2011............................................................. 4 Series 2: Project Files, circa 1969-2016.................................................................. 5 Series 3: Printed Material, 1970-2012.................................................................... -
The Written Word (1972)
THE WRITTEN WORD (1972) The Written Word is Tom Van Sant’s public art treatment for three distinct con- Artist: crete areas of the Inglewood Public Library. The work is cast into the concrete Tom Van Sant surfaces of the exterior stairwell column on Manchester; the lower level of an interior lobby, and an exterior wall of the Lecture Hall. Collection: City of Inglewood Van Sant explores the development of written thought in numbers, letters, Medium: theories and histories from diverse cultures in diverse times. Egyptian hiero- Bas-Relief glyphics, Polynesian counting systems, European cave painting and Einstein’s mathematical equations are some of the many images to inspire Library’s Material: patrons with the wealth of words found inside. Poured-in-place concrete Van Sant was commissioned through the NEA Art in Architecture program to work with Civic Center architects Charles Luckman and Associates, This artwork required special molds built in reverse so the texts and drawings would be cor- rectly read, a technique requiring a high degree of craft. The Written Word is one of the few examples of a poured-in-place concrete bas-relief in the Los Angeles basin and one of the largest to employ this technique in the world. Inglewood Public Library 101 West Manchester Boulevard Inglewood, CA INGLEWOOD PUBLIC ART EDUCATION PROJECT 1 Tom Van Sant Tom Van Sant is a sculptor, painter, and conceptual artist with major sculpture and mural commissions for public spaces around the world. His art is collected globally. His professional skills and interests include archi- tecture, planning, education, an advanced technical invention. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
2015 Craig Kauffman
Craig Kauffman Born 1932 in Los Angeles, CA Died in 2010 in the Philippines Education 1956 University of California, Los Angeles, CA, M.A. 1955 University of California, Los Angeles, CA, B.A. 1952 University of Southern California, School of Architecture, Los Angeles, CA Solo Exhibitions 2015 Craig Kauffman: Drawings: 1958-1961, Frank Lloyd Gallery, Santa Monica, CA 2014 A Survey of Late Work, Frank Lloyd Gallery, Santa Monica, CA 2013 Craig Kauffman: Constructed Paintings 1973-1976, Frank Lloyd Gallery, Santa Monica, CA 2012 Craig Kauffman: The Numbers Paintings, Frank Lloyd Gallery, Santa Monica, CA 2011 Sensual/Mechanical, Frank Lloyd Gallery, Santa Monica, CA (catalogue) 2010 Loops, Frank Lloyd Gallery, Santa Monica, CA Works on Paper Retrospective, Cirrus Gallery, Los Angeles, CA Late Work, Danese Gallery, New York, NY New Work, Frank Lloyd Gallery, Santa Monica, CA 2009 Wall Relief Sculpture From the Sixties, Nyehaus, New York, NY 2008 Craig Kauffman: A Drawing Retrospective, Armory Center for the Arts, Pasadena, CA New Wall Relief Sculpture, Frank Lloyd Gallery, Santa Monica, CA Bubbles, Donuts, Dishes, Frank Llyod Gallery, Santa Monica, CA 2007 Patricia Faure Gallery, Santa Monica, CA 2004 Craig Kauffman: Works from the 1960s, Franklin Parrasch Gallery, New York, NY 2003 Sandra Gering Gallery, New York, NY 2001 Sandra Gering Gallery, New York, NY 2000 Studio la Città, Verona, Italy 1999 Bubbles, Patricia Faure Gallery, Santa Monica, CA 1998 Painted Drawings, Patricia Faure Gallery, Santa Monica, CA 1995 New Work, Patricia Faure -
Pictorial Space Throughout Art History: Cézanne and Hofmann
ARAS Connections Issue 2, 2012 Venus of Véstonice . Baked clay, Czechoslovakia. 29,000-25,000 BC. Photograph: J Jelinek, 'The Evolution of Man' Pictorial Space throughout Art History: Cézanne and Hofmann How it models Winnicott's interior space and Jung's individuation Maxson J. McDowell Copyright: McDowell, 2006 The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 2, 2012 Introduction Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality . Such works now sell for tens of millions of dollars. A paleolithic Venus and a still life by Cézanne both share this monumentality. Michelangelo likened monumentality to sculptural relief: Painting should be considered excellent in proportion as it approaches the effect of relief |1|. Braque called monumentality space : You see, the whole Renaissance tradition is antipathetic to me. The hard and fast rules of perspective which it imposes on art were a ghastly mistake which it has taken four centuries to redress: Cézanne and, after him, Picasso and myself can take a lot of the credit for this. Scientific perspective is nothing but eye-fooling illusionism; it is simply a trick - a bad trick - which makes it impossible for an artist to convey a full experience of space, since it forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach, as a painting should. That's why I have such a liking for primitive art: for very early Greek art, Etruscan art, Negro art. -
"Realism," Embodied Subjects, Projection of Empathy
READING ART KRZYSZTOF PIJARSKI " r EALISM," EMBODIED SUBjECTS, PROjECTION O f EMPATHY 147 Krzysztof Pijarski "Realism," Embodied Subjects, Projection of Empathy DOI:10.18318/td.2015.en.2.10 Krzysztof Pijarski is a lecturer o f PWSTFiTv in Łódź, “The ultimate stakes of serious art - to attach an artist who works us to reality.” Michael Fried, Four Honest Outlaws' in the photographic medium, a translator. A Fullbright scholarship The Question of Modernity holder a t Johns Hopkins University A question that is worth a moment of reflection: why in Baltim ore (2009 does raising the issue of realism as a central problem 2010), a scholarship in art (or literature) invariably require a certain gesture holder o f NCN and of withdrawal, for us to place it in brackets, or quotes? As o f the M inister o f if we were uncertain what we had in mind when writ- Culture and National Heritage. Author o f ing this word, as if we did not know what it meant, or numerous articles were opposing its standard, common-sense meaning. published in scholarly Therefore, when Hilde van Gelder and Jan Baetens open periodicals and their 2006 anthology of texts devoted to CriticalRealism in joint publications. Contemporary Art with the words “20th-Century art [...] The translator of an anthology of texts by is at odds with realism, at least with the term,” it is this Allan Sekula entitled final phrase that seems key. The authors' thesis is that "Społeczne użycia after the adventures of modernism, the avant-garde and fotografii" (2011). postmodernism, realism returned in contemporary ar- Editor o f the volum e tistic practices. -
Press Release
NEWS FOR IMMEDIATE RELEASE FROM THE UNIVERSITY OF CALIFORNIA, IRVINE CLAIRE TREVOR SCHOOL OF THE ARTS Media Advisory: http://www.arts.uci.edu/press-room/tribute-tony-delap Event: http://www.arts.uci.edu/event/tribute-tony-delap Contact: Jaime DeJong 949-824-2189 [email protected] A Tribute to Tony DeLap Four institutions honor the life and work of the brilliant artist and educator Irvine, Calif., August 27, 2019 – On Sunday, September 8, 2019, a public tribute will be held at the Irvine Barclay Theatre to celebrate the life and work of the late Tony DeLap, who passed away on Wednesday, May 29, at his home in Corona del Mar, California. Friends, family, and colleagues have been invited to share stories and memories to honor DeLap’s legacy. A reception will be hosted following the program. This event is presented in partnership by the UCI Claire Trevor School of the Arts, Laguna Art Museum, Orange County Museum of Art, and Parrasch Heijnen Gallery. Tony DeLap was a dear friend and integral figure to all of these organizations. Guest speakers have been invited to reflect on the many facets of the artist’s life as a family man, teacher, magician, and revered California artist. Speakers include; Stephen Barker, Dean of the UCI Claire Trevor School of the Arts, Grace Kook-Anderson, Curator of “Best Kept Secret, UCI and the Development of Contemporary Art in Southern California, 1964–1971” and currently the Curator of Northwest Art at the Portland Art Museum; Chris Heijnen, friend and co-owner of Parrasch Heijnen Gallery; Mike McGee, former student and currently the Director of the Begovich Gallery at CSUF; Greg Victoroff, friend and fellow magician, Todd Smith, Director and CEO of the Orange County Museum of Art; Bruce Guenther, curator of the Tony DeLap Retrospective at OCMA in 2000; Malcolm Warner, Executive Director of Laguna Art Museum; and Dale Shierholt, friend and filmmaker. -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
50Th Anniversary of Disney's Haunted Mansion • Irvine's Top 10 Hidden Food Gems • a Tribute to Artist Tony Delap
IRVINEWEEKLY.COM | SEPTEMBER 4, 2019 | 1 50TH ANNIVERSARY OF DISNEY’S HAUNTED MANSION • IRVINE’S TOP 10 HIDDEN FOOD GEMS • A TRIBUTE TO ARTIST TONY DELAP SEPTEMBER 04, 2019 • NO. 23 IRVINEWEEKLY.COM | SEPTEMBER 4, 2019 2019 4, SEPTEMBER | 2 Faking It: Part 3 Fake News, Misinformation and Media Bias: How to Keep Your Stories Straight in a Shareable Social World Moderated by Brian Calle, CEO & Publisher, Irvine Weekly and LA Weekly Hosted By e Elite OC • Educational Content by World Aairs Council OC • Sponsored by New Majority Thursday, October 17th, 2019 from 6:00pm - 8:00pm Renaissance Newport Beach Hotel (Citrus Room) • 4500 MacArthur Blvd, Newport Beach, CA 92660 TICKETS: https://bit.ly/WACOC2 IRVINEWEEKLY.COM | IRVINEWEEKLY.COM SEPTEMBER 4, 2019 • No. 23 CONTENTS A DEGREE MORE A CLASSROOM THAN A STUDENT A LOCATION 12 2019 4, SEPTEMBER The Chicago School of Professional Psychology | at Irvine in University Plaza, 4199 Campus Dr., Suite 400 3 BE MORE THAN at thechicagoschool.edu TONY DELAP: A RETROSPECTIVE • COURTESY OF THE ARTIST AND RENA BRANSTEN GALLERY / LAGUNA ART MUSEUM CULTURE...4 StoryCorps: Cadence Park exhibit preserves stories from the O.C. BY RYAN LEUTERITZ FOOD...8 CLASSIFIEDS Top 10 hidden food gems in Irvine. Assistant Designer: A.A. in Developer Advisor sought HR Specialist (Lakewood, Fashion Design by Anthem, Inc, in Cerritos, CA) Maintain employment BY SAM HINGCO req’d. Send resumes to: CA to create complex records related to events, Active USA, Inc., databases for application such as hiring, termination, 1807 E. 48th Pl., LA, CA requirements and docu- leaves or promotions.