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Restoring Subjectivity and Brazilian Identity: Lygia Clark's Therapeutic
Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Eleanor R. Harper June 2010 © 2010 Eleanor R. Harper. All Rights Reserved. 2 This thesis titled Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice by ELEANOR R. HARPER has been approved for the School of Art and the College of Fine Arts by Jaleh Mansoor Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT HARPER, ELEANOR R., M.A., June 2010, Art History Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice (125 pp.) Director of Thesis: Jaleh Mansoor This thesis examines the oeuvre of Brazilian artist Lygia Clark (1920-1988) with respect to her progressive interest in and inclusion of the viewing subject within the work of art. Responding to the legacy of Portuguese occupation in her home of Brazil, Clark sought out an art that embraced the viewing subject and contributed to their sense of subjectivity. Challenging traditional models of perception, participation, and objecthood, Clark created objects that exceeded the bounds of the autonomous transcendental picture plane. By fracturing the surfaces of her paintings, creating objects that possess an interior and exterior, and by requiring her participants to physically manipulate her work, Clark demonstrated an alternative model of the art object and experience. These experiments took her into the realm of therapy under the influence of psychoanalyst D. W. Winnicott’s work. -
Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION from PICTURES to OBJECTS Monica Amor
REVIEW ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION FROM PICTURES TO OBJECTS monica amor suárez, osbel. cold america: geometric abstraction in latin america (1934–1973). exhibition presented by the Fundación Juan march, madrid, Feb 11–may 15, 2011. crispiani, alejandro. Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970]. buenos aires: universidad nacional de Quilmes, 2011. The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some refl ection. The fi eld has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American © 2014 ARTMargins and the Massachusetts Institute -
Contemporary Art in Indian Context
Artistic Narration, Vol. IX, 2018, No. 2: ISSN (P) : 0976-7444 (e) : 2395-7247Impact Factor 6.133 (SJIF) Contemporary Art in Indian Context Dr. Hemant Kumar Rai Richa Singh Asso. Prof., Research Scholar Deptt. of Drawing & Painting M.F.A. M.M.H. College B.Ed. Ghaziabad, U.P. Reference to this paper should be made as follows: Abstract: This article has a focus on Contemporary Art in Indian context. Dr. Hemant Kumar Rai Through this article emphasizesupon understanding the changes in Richa Singh, Contemporary Art over a period of time in India right from its evolution to the economic liberalization period than in 1990’s and finally in the Contemporary Art in current 21st century. The article also gives an insight into the various Indian Context, techniques and methods adopted by Indian Contemporary Artists over a period of time and how the different generations of artists adopted different techniques in different genres. Finally the article also gives an insight Artistic Narration 2018, into the current scenario of Indian Contemporary Art and the Vol. IX, No.2, pp.35-39 Contemporary Artists reach to the world economy over a period of time. key words: Contemporary Art, Contemporary Artists, Indian Art, 21st http://anubooks.com/ Century Art, Modern Day Art ?page_id=485 35 Contemporary Art in Indian Context Dr. Hemant Kumar Rai, Richa Singh Contemporary Art Contemporary Art refers to art – namely, painting, sculpture, photography, installation, performance and video art- produced today. Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely vary. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
An Investigation of the Relationship Between Popular Music and Analytic Cubist Paintings in Prewar Paris Lulan Yu Virginia Commonwealth University
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 An Investigation of the Relationship between Popular Music and Analytic Cubist Paintings in Prewar Paris Lulan Yu Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/1208 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. An Investigation of the Relationship Between Popular Music and Analytic Cubist Paintings in prewar Paris by Lulan Liane Yu BA, Virginia Commonwealth University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA December 1996 Acknowledgment I would like to extend my appreciation to Dr. Howard Risatti. It was his insight and expertise which helped formulate and articulate the ideas which made this thesis possible. I would also like to thank Dr. Fredrika Jacobs who went beyond her duties as a reader and gave me both support and encouragement. Table of Contents List of Illustrations Abstract Introduction Chapter One Popular Entertainment Institions in Prewar Paris Chapter Two Poster and Music Advertisements Chapter Three Performers, Performances and Paintings Conclusion Figures Illustrations Figure Page 1. Georges Braque. Le Portugaise (The Emigrant). 1911-1 2. 4 1 As reproduced by William Rubin (Pioneering Cubism, 1989). -
Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol
The Art Institute of Chicago Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 25, No. 9, Part II (Dec., 1931), pp. 1-31 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4103685 Accessed: 05-03-2019 18:14 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Art Institute of Chicago (1907-1951) This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms EXHIBITION OF THE ARTHUR JEROME EDDY COLLECTION OF MODERN PAINTINGS AND SCULPTURE ARTHUR JEROME EDDY BY RODIN THE ART INSTITUTE OF CHICAGO DECEMBER 22, 1931, TO JANUARY 17, 1932 Part II of The Bulletin of The Art Institute of Chicago, Volume XXV, No. 9, December, 1931 This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms No. 19. -
Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA
Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA The Synthesis of the Integrative and Form-Building Possibilities of Expressive Means of Music, Painting and Poetry Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA Kazakh National Conservatory after Kurmangazy, Almaty, Kazakhstan Abstract. An integrated view on the formation of different types of art requires a special approach to the single syncretic phenomenon with a common system of expressive means and a number of socio-cultural grounds. This article is dedicated to the peculiarities of the interaction of adjacent arts: music, poetry, painting, and the logic of the phenomenon of synthesis in the works of composers, painters, poets, associated with their synesthetic perception. There has always been an organic connection between these types of art, requiring the study of art, bearing systemic character with different aspects and different form- building properties. Their unity is based on the nature of visual, spatial, temporal art that do not exist separately. Each of them covers «the rhythm and motif of the other» with characteristic common techniques of organization, unique expressive means. We consider the commonality of the language of the pieces of art through figurative perception of the surrounding world, through the ability of music to conjure up visual (pictorial, poetic, musical) images, through the development of musical, figurative and associative thinking, capable of conveying specific states of mind, picturesque beauty of nature. Keywords: harmony of sound and color, spectrum of color vision, pictorial composition, musical form, color associations, synthesis of arts. -
SPIRITUALITY in MODERN ART by Chelsea Ann Rulofson a Thesis
SPIRITUALITY IN MODERN ART By Chelsea Ann Rulofson A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements of the Degree of MASTER OF ARTS IN ART HISTORY University of Wisconsin – Superior May 2012 2 3 Title: Spiritualty in Modern Art Author: Rulofson, Chelsea Ann Advisors: Famule, Olawole and Wright, Pope Abstract: This thesis includes the interpretation of art as a religious device in early history that was essentially, exclusively used within the context of spirituality. Art from around the world reveals the deep roots between spirituality and art. Looking then to modern times, the influence of Darwinian Theory and science on artists at the time divulges a different type of spirituality that does not need any God, gods, spirits, or ancestors for creation or for art. Philosophies of humanism and cosmic humanism begin to take the spiritual stage in art. Art and its relationship with spirituality and with people in most cases no longer serves a communal purpose and has become a tool of the individual’s inner expression, which excludes instead of includes people. The transition has been from artists making art that was for the pleasure of a deity to artists transforming, philosophically, into their own deity and making art to please themselves alone. Through this research into art and spirituality, the relevance of modern art is examined. Description: Thesis (M.A.) - University of Wisconsin, Superior, 2012. (61 leaves). 4 Table of Contents TITLE PAGE………………………………………………………………………………PAGE 1 APPROVAL.………………………………………………………………………………PAGE -
5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected]
Auguste Herbin (1882–1960) Composition 1930 oil on canvas 130.1 x 59.7 cm (51¼ x 23½ in.) signed 'Herbin' (lower right); dated 'Février 1930' (on the stretcher) Provenance: Galerie de l'Effort Moderne (Léonce Roseberg), Paris Karl Ströher, Darmstadt Thence by descent Sale: Sotheby's London, 8 December 1999, lot 279 Private collection, US (East Coast) (acquired at the above sale) Exhibited: Hanover, Kestner Gesellschaft, Auguste Herbin, 1967, no. 66 Dusseldorf, Kunsthalle, Auguste Herbin, Rétrospective, 1967-68, no. 63 Literature: G. Claisse, Herbin, Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 667, illustrated p. 397 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com Notes: Originally a proponent of Impressionist and Fauve painting, Herbin moved to the Bateau-Lavoir studios in 1909 and became increasingly interested in Cubism. It was there that he met Pablo Picasso, Georges Braque and Juan Gris, artists who inspired him to explore a more abstracted means of pictorial representation. In keeping with Cézanne’s call to treat nature as “the cylinder, the cone and the sphere”, Herbin began reducing his subjects into a series of cylindrical shapes. Composition is an exceptional example of Herbin’s mature Cubist-inspired imagery, depicting abstracted figures and evoking a fluid sense of energy and velocity. Unlike Braque and Picasso’s earlier monochromatic output, Herbin employs a broad palette of rich colours. Varying hues of pink, turquoise, black and cream are beautifully juxtaposed to create a spectrum of harmonious colours. Herbin’s works from this period are further marked by the appearance of black contours swaying around the geometrical forms, guiding the viewer’s eye through a more complex composition. -
Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes.