L'internationale. Post-War Avant-Gardes Between 1957 And

Total Page:16

File Type:pdf, Size:1020Kb

L'internationale. Post-War Avant-Gardes Between 1957 And EDITED BY CHRISTIAN HÖLLER A PUBLICATION OF L’INTERNATIONALE BOOKS L’INTERNATIONALE POST-WAR AVANT-GARDES BETWEEN 1957 AND 1986 EDITED BY CHRISTIAN HÖLLER TABLE OF CONTENTS 13 63 162 OPEN Approaching Art through Ensembles Should Ilya Kabakov Bart de Baere Be Awakened? 14 Viktor Misiano Museum of Parallel Narratives, 85 Museu d’Art Contemporani An Exercise in Affects 177 de Barcelona (MACBA), Barcelona (2011) Bojana Piškur Forgotten in the Folds of History Zdenka Badovinac Wim Van Mulders 95 31 What if the Universe 192 Museum of Affects, Started Here and Elsewhere Is Spain Really Different? Moderna galerija, Ljubljana (2011 / 12) Steven ten Thije Teresa Grandas Bart de Baere, Bartomeu Marí, with Leen De Backer, 106 203 Teresa Grandas and Bojana Piškur Age of Change CASE STUDIES Christian Höller 37 204 Prologue: L’Internationale 119 A. ARTISTS Zdenka Badovinac, CIRCUMSCRibiNG Bart De Baere, Charles Esche, THE PERIOD 205 Bartomeu Marí and KwieKulik / Form is a Fact of Society Georg Schöllhammer 120 Georg Schöllhamer Connect Whom? Connect What? 42 Why Connect? 215 METHODOLOGY The World System after 1945 Július Koller / Dialectics Immanuel Wallerstein of Self-Identification 43 Daniel Grún Writing History Without 134 a Prior Canon Recycling the R-waste 224 Bartomeu Marí (R is for Revolution) Gorgona / Beyond Aesthetic Reality Boris Buden Branka Stipancic 52 Histories and 145 230 Their Different Art as Mousetrap: OHO / An Experimental Microcosm Narrators The Case of Laibach on the Edge of East and West Zdenka Badovinac Eda Čufer Ksenya Gurshtein POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 3 TABLE OF CONTENTS 239 306 365 Jef Geys and Marinus Boezem / The Avant-Garde, Sots-Art and CLOSE Taking Care of the Frame the Bulldozer Exhibition of 1974 Steven ten Thije Vitaly Komar 366 Spirits of Internationalism, 250 316 Van Abbemuseum, Paul De Vree and Toon Tersas / Works and Words (1979) Eindhoven / Museum Hysteria Makes History in the Shadow of I AM (1978) van Hedendaagse Kunst Lars Bang Larsen Marga van Mechelen Antwerpen, Antwerpen Charles Esche, Steven 257 324 ten Thije, Bart De Baere, Grup de Treball and Vídeo-Nou / A European Jan De Vree and Anders Two Collective Projects in 1970s Spain Institutional Effort / Kreuger Teresa Grandas Art in Europe after ‘68 (1980) and 403 266 Chambres d’Amis (1986) CONTRIBUTORS Retroavantgarde Jan Hoet Inke Arns 330 273 ARRAYS OF B. MONUMENTS INTERNATIONALISM 274 331 “A HugeAmusement-Park Southern–Eastern Exhibition” / Vision in Motion (1959) Contact Zones Jan Ceuleers Cristina Freire 285 342 Overcoming Alienation / From the New Tendencies (1961–1973) International Armin Medosch to the Cosmopolitan Piotr Piotrowski 297 The Furor of the Festival / 351 Los Encuentros de Pamplona (1972) “Global” Art José Días Cuyás Nancy Adajania POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 4 Museum of Parallell Narratives. In the Framework of L’Internationale exhibition, POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 5 MACBA, 2011, Photo by Rafael Vargas. Museum of Parallell Narratives. In the Framework of L’Internationale exhibition, POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 6 MACBA, 2011, Photo by Rafael Vargas. Museum of Parallell Narratives. In the Framework of L’Internationale exhibition, POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 7 MACBA, 2011, Photo by Rafael Vargas. Museum of Parallell Narratives. In the Framework of L’Internationale exhibition, POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 8 MACBA, 2011, Photo by Rafael Vargas. Museum of Affects MG+ MSUM 2011, Photo by Dejan Habicht. POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 9 Museum of Affects MG+ MSUM 2011, Photo by Dejan Habicht. POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 10 Museum of Affects MG+ MSUM 2011, Photo by Dejan Habicht. POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 11 Museum of Affects MG+ MSUM 2011, Photo by Dejan Habicht. POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 12 OPEN POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 13 OPEN MUseUM OF PARALLEL NARRatives, MUSEU d’ART CONTEMPORANI DE BARCELONa (MACBA), BARCELONa (2011) ZDENKA BADOVINAC POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 14 MUSEUM of Parallell Narratives – ZdeNKA BADOVINAC The exhibition Museum of Parallel Narratives pres- postwar avant-garde art in Eastern Europe, Museum ents a selection of works from the Arteast 2000+ of Parallel Narratives also sets itself the task of pre- Collection of the Moderna galerija in Ljubljana, the senting new knowledge about the region. The exhi- first-ever collection of postwar avant-garde Eastern bition draws attention to the fact that museum European art, and seeks to discover what sort of art collections are tools for producing new knowledge system, if any, accompanied the production, presen- and new working methods, and are not only a means tation and musealization of these artworks. Museum for consolidating that which is already known. In this of Parallel Narratives speaks of artists who worked on way, museums increasingly acquire, along with their the edges of a well-ordered world and its art system, representative function, a performative role as well. and, indeed, addresses its own position at the edge Let us look first at the kind of art that is presented of an era that has seen an acceleration in the estab- in the exhibition and then at how the micro-politics of lishment of an art system in the space that can still this art influences the logic behind what the museum be justifiably called “Eastern Europe”. The exhibition collection does. The exhibition presents sixty-two is also connected with the principal idea behind the artists and eight artist groups representing most wide-ranging project, L’Internationale, of which it Eastern Europe countries: it includes more than a forms a part. hundred works, mostly originating between 1961 and With all of these elements, the exhibition goes 1986, but also several more recent items. The rep- beyond the usual attempts to present Eastern resented period is in keeping with that of the long- European art, which in the main have sought only to term research program of L’Internationale, which offer a condensed version of the art of the region, addresses postwar avant-garde art between 1956 without engaging with the complexities of its con- and 1986. This was a time when dictatorial regimes of text. While providing a comprehensive overview of various kinds presided over a large part of the world, POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 15 MUSEUM of Parallell Narratives – ZdeNKA BADOVINAC but it was also a period marked by the postwar belief The second group (Sano Filko, Alex Mlynarčik, in a new modern era, one in which advanced technol- and Vlasta Delimar and Željko Jerman) presents ogies played an increasingly dominant role, the world unique forms of happenings and rituals that were was better connected by new transportation and based on appropriating the socio-political reality communication systems, and the mass media was and its phenomena. These artists were not trying to gaining power: a time of both politically and econom- change the environment in which they lived; rather, ically isolated spaces and expanding globalization. they used it as a kind of ‘found society’. Such happen- While it is true that the postwar avant-garde ings represent, essentially, real-time excerpts from movements presented here were opposed to the the found society, within which the artists directly existing regimes, this opposition was not always observed various relationships, including them- expressed through an explicitly political con- selves, trapped in different social contradictions. tent. What made them political was the fact that In the third group (Josip Vaništa [Gorgona], Neue they employed various gestures to create certain Slowenische Kunst groups [IRWIN, Laibach, Scipion micro-political situations. In this regard, the works Nasice Theatre], the OHO Group, Walter de Maria in the exhibition may be divided into a number of and Andrei Monastyrsky) we find group art actions separate groups. in which the collective methods of the work became The first group (Marina Abramović, Geta Brătescu, the central theme of the art. In these works, the Ion Grigorescu, Tibor Hajas, Sanja Iveković, KwieKulik, micro-political situations, which acted as a counter- Jan Mlčoch, Karel Miler, Petr Štembera, Ilja Šoškić, and weight to the macro-political environment, become Raša Todosijević) presents body art and other forms foregrounded. Through these actions a method of of performance art. In this kind of creative practice, group working was developed that offered an alter- the artists intensified the experience of social isola- native to the dominant ideology of collectivism. Here, tion, marginalization, and vulnerability. In their per- too, belong various self-organized working methods formance work these artists consciously relived that filled some of the gaps in the still-undeveloped everything that characterized the grey, everyday life art system. of socialism, thus making visible the lack of freedom While under socialism the authorities might tol- in society and various forms of social pressure. erate the presentation of so-called unofficial art in POST-WAR AVANT-GARDES BETWEEN 1957 And 1986 – 16 MUSEUM of Parallell Narratives – ZdeNKA BADOVINAC marginal spaces such as youth clubs, student centers, film ribbon, they underscored the independence and artists’ studios or private apartments, a much stricter non-ideological nature of things in themselves. attitude was taken toward events in the public space. Socialist reality was dominated by the imagi- As a result, all the actions in the public space that nary of a drab and mundane existence touched by are presented in the fourth group (Braco Dimitrijević, signs of Western consumerism. In the sixth group Tomislav Gotovac, Jiří Kovanda, Milan Knižák, Paul (OM Production, Natalia LL, Tomislav Gotovac, Josef Neagu, the OHO Movement [Naško Križnar, Milenko Robakowski, and Sanja Iveković and Dalibor Martinis) Matanović, David Nez, and Drago Dellabernardina] can be found works that are based on the use of pho- and Goran Trbuljak) instantly acquired a political, tography, film and video in an investigation of the anti-institutional and anti-ideological marking.
Recommended publications
  • (Incl. Kunst En Varia). Aanwinsten Van Anet — Periode 2009/06
    Algemeen (incl. Kunst en varia). Basisboek interviewen: handleiding voor het voorbereiden en Aanwinsten van Anet — Periode 2009/06 afnemen van interviews / Ben Baarda ; Martijn de Goede ; Jessie van der Meer-Middelburg. — 2 ed. — Groningen : Wolters-Noordhoff, 2007. — 128 p. — (Serie methoden en Algemeen en varia technieken ; 2007: 2). — ISBN-13 978–90–01–70013–3 UA–CST: TEW 311 G–BAAR 2007 Academy & the Internet / [edit.] Helen Nissenbaum ; UA–CST: OW 371.012 G–BAAR 2007 [edit.] Monroe E. Price. — New York, N.Y. : Lang, 2004. — KdG–IWT: 658 357 p. — (Digital formations ; 12). — ISBN-10 0–8204–6203–9 HL–CD: 311.2 BAAR 2007 UA–CST: PSW 301.08 G–NISS 2004 PLANTIJN–MEI: OK 307/025 BAAR Artesis-BLS: BLS 301.08 G–BAAR 2007 Activiteitenverslag / Commissie Cultureel Verdrag UHasselt: 001 BAAR 2007 Vlaanderen-Nederland. — Brussel. — ISSN 1780–1915 KdG–SAW: 321.3 KdG–SAW: 497 (2008) De infantiele consument: hoe de markt kinderen bederft, volwassenen klein houdt en burgers vertrapt / Benjamin R. Cultuur / Bert Anciaux. — Brussel : Ministerie van de Vlaamse Barber. — Amsterdam : Ambo, 2007. — 511 p. — Gemeenschap, 2000. — 72 p. — (Beleidsnota 2000–2004 ; ISBN-13 978–90–263–2069–9 2000: 13) KdG–HB: 367.11 KMSKA: MONO–BC 4064 UHasselt: 338.2 BARB 2007 EHC: 715740 La mujer en la America´ antigua / Ferdinand Anton. — Mexico,´ Artesis-OWAC: 33449 D.F. : Extemporaneos,´ 1973. — 108 p., ill. bevragen bij Elie D'Hondt (PO) UA–CST: MAG–MEX–C 1868 UA–CST: TEW 658.81 G–BARB 2007 The Apollo Gallery in the Louvre / [edit.] Genevieve` Pasos perseguidos: ensayos de antropolog´ıa e historia de Bresc-Bautier.
    [Show full text]
  • International Journal of Education & the Arts
    International Journal of Education & the Arts Editors Terry Barrett Peter Webster The Ohio State University University of Southern California Eeva Anttila Brad Haseman Theatre Academy Helsinki Queensland University of Technology http://www.ijea.org/ ISSN: 1529-8094 Volume 17 Number 21 July 23, 2016 Land Art In Preschools. An Art Practice Ingunn Solberg Queen Maud University College of Early Childhood Education, Norway Citation: Solberg, I. (2016). Land art in preschools. An art practice. International Journal of Education & the Arts, 17(21). Retrieved from http://www.ijea.org/v17n21/. Abstract The basis for my article is how, and if, a collaborative land art project can provide opportunities for such co-creating as suggested in the national framework plan for preschools, which explicitly states the child as a co-creator of a shared expressive culture. I further wish to propose land art as a meaningful cultural practice, closely connected to children’s physical awareness and sense of place. In doing so, I use the concepts of sensation, making and knowledge, exploring them as mutually beneficial. The way I worked to explore these matters, was to initiate and conduct a land art project in an open air preschool. I was with a group of children for several days. Adults and children worked together to make a shape, in a landscape well known to the children. While initiating, suggesting and participating, I experienced and observed the children’s interaction with the land, with forms of knowledge and with each other. IJEA Vol. 17 No. 21 - http://www.ijea.org/v17n21/ 2 My experiences and observations, that constitute my data from this project, are composed into a story.
    [Show full text]
  • Jef Geys (1934 – 2018)
    JEF GEYS (1934 – 2018) https://jefgeysweblog.wordpress.com/ (* publications) EXPOSITIONS PERSONNELLES 2021 Kunsthalle Bern, Bern, Switzerland Day and Night and Day and…, Air de Paris, Romainville Lieux de papier (wiuth Adrien Tirtiaux), Otty Park, Antwerpen 2020 Jef Geys, Kunsthall, Bergen N°. 83, Montre bracelet transparente or Doorkijkuurwerk, Essex Street, New York 2019 Le Tour de France 1969 d’Eddy Merckx, Bozar, Brussels Kempens Informatieblad, Künstlerhaus Bremen Paravents (As Sombras de Lisboa), Air de Paris, Paris 2018 Kempens Informatiebald, Künstlerhaus Bremen, Bremen (cur. Gloria Hasnay, Moritz Nebenfür with Nadia Quante) Quadra Medicinale Singapore, Nanyang Technological University, Centre for Contemporary Art Singapore, Singapore (cur. Dirk Snauwaert with Ute Meta Bauer and Khim Ong) Yale Union, Portland (cur. Nicholas Tammens) Quadra, MAC’s, Grand-Hornu, Mons (cur. Francis Mary) Thuis met Jef Geys (project ‘Zonder titel’), Witte de With, Rotterdam Le Tour de France 1969 d'Eddy Merckx, Cyclisme et Jeux Olympiques, Sportfoto, 3000, Gare Saint-Sauveur, Lille, Le Tour de France 1969 d’Eddy Merckx, Air de Paris, Paris 2017 Kempens Informatieblad, 1971 – 2017, Linden, Düsseldorf Oldenburg, Galerie Max Meyer, Düsseldorf Gevoelsspeeldoos, Etablissement d’en Face, Bruxelles CHALET, La Loge, Bruxelles Namen (archieftentoonstelling), M HKA, Antwerpen Golfoorlog 1991 (archieftentoonstelling), M HKA, Antwerpen Some News From Balen, Essex Street, New York Bubble Paintings, Essex Street, New York Le Tour de France 1969 d’Eddy Merckx, Centre
    [Show full text]
  • Steidl Frühjahr 2021
    Steidl Frühjahr 2021 Inhaltsverzeichnis Liebe Kolleginnen und Kollegen im Buchhandel und in der Presse, 4 Sebastian Barry, Annie Dunne 8 Marmaduke Pickthall, Die Taube auf der Moschee. Unterwegs im Orient Josef Beuys sei sein »Privatprofessor« gewesen, hat Gerhard Steidl oft schon 12 Friedrich Dürrenmatt, Wege und Umwege. Das bildnerische Werk. Band 2 erzählt, von ihm habe er alles über Multiples gelernt, und das konsequent in 14 Günter Grass, Werke. Neue Göttinger Ausgabe in 24 Bänden der Buchproduktion umgesetzt. Zum 100. Geburtstag am 12. Mai 2021 feiern 16 Gerhard Steidl, Büchermachen mit Günter Grass wir Beuys mit acht Büchern, die uns den Ausnahmekünstler auf ungewöhnli- chen Wegen nahebringen, an seiner Honigpumpe, bei den Workshops seiner 18 Günter Grass, Der Kampf um die Polnische Post Freien Universität oder auf Reisen in Amerika. 20 Christoph Heubner, Durch die Knochen bis ins Herz 22 Alwin Meyer, Mama, ich höre dich. Mütter, Kinder und Geburten in Auschwitz Literarisch freuen wir uns in diesem Frühjahr auf Annie Dunne, Sebastian 24 Ronald Grätz und Maike Weißpflug (Hg.), NaturKultur Barrys zweiten Roman, in England 2002 veröffentlicht. Ein großartiges Stück Steidl Pocket Literatur ist nun endlich auch in deutscher Sprache zu entdecken: in sei- 28 Sebastian Barry, Ein verborgenes Leben ner stillen Schönheit genau das richtige Buch in schwierigen Zeiten. So wie 29 Alexander Pechmann, Sieben Lichter Marmaduke Pickthalls herrlicher Reisebericht Die Taube auf der Moschee vom 30 Charles Dantzig, Wozu lesen? Ende des 19. Jahrhunderts in Syrien und Palästina, denn dieses Buch ist nicht 31 Halldór Laxness, Am Gletscher nur rasant, humorvoll und beinahe märchenhaft, sondern auch ein Plädoyer 32 Bernt Engelmann, Die unfreiwilligen Reisen des Putti Eichelbaum für Toleranz und Unvoreingenommenheit.
    [Show full text]
  • Új Művészet, 2003, 24
    október 2019 9 ISSN 0866-2185 765 Ft 19009 9 770866 218000 október Felforgatók: Felforgatók: Schwitters, Schnabel, KirályTót, 2019 szürrealisták a Magyar Nemzeti Galériában Andalúziai kutyából nem lesz szalonna: Andalúziai nem kutyából lesz szalonna: 9 A A Hantai-siker nyomában Őszi lehalászás MűtÁRGYBEFEKTETÉSI M. NOVÁK ANDR ÁS Munkácsy Mihály-díjas festőművész, az MMA rendes tagja kiállítása KONFERENCIA 2019. OKTÓBER 2. NOVEMBER 10. 2019. november 12. P E S T I V I G A D Ó , a Magyar Művészeti Akadémia székháza, Müpa, Auditorium V. emeleti kiállítóterem Budapest V. kerület, Vigadó tér 2. www.mutargykonferencia.hu OGATÓ M SZERVEZő FőTÁ minden, ami művészet mma.hu október 2019 9 Anadalúziai kutyából nem lesz szalonna Favicc A festészet többet tud, mint a fotó Kiváló holttestek diétás menüben Klaus Littmann: For Forest – The Unending Beszélgetés Székely Annamária Attraction of Nature 28 háromdimenziós kísérleteiről 46 A szürrealista mozgalom Dalítól Magritte-ig 4 TAYLER PATRICK NICHOLAS——— MULADI BRIGITTA——— GYőRFFY LÁSZLÓ———— Absztrakt kalandok Dimenziók Felforgatók Egy siker anatómiája A tér lebontása A MAOE VI. tematikus kiállítása 48 A Hantai-szerződés hazai vonatkozásai 31 D. UDVARY IldIKÓ——— Kurt Schwitters Merz-katedrálisa 10 MÉSZÁROS FLÓRA——— LESI ZOLTÁN——— Olvasó Kék-arany ragyogások Emlékül, ismerni akaróknak Ropogós, zamatos, fanyar nyomatok Molnár László festményeiről 34 E. Csorba Csilla – Sipőcz Mariann: Arany Julian Schnabel grafikái 13 LÓSKA LAJOS——— János és a fényképezés. Országh Antal TOLNAY IMRE——— fotográfus (1821–1878)
    [Show full text]
  • Calder / Miró Constellations
    For Immediate Release Calder / Miró Constellations Pace Gallery Acquavella Galleries 32 East 57th Street, New York 18 East 79th Street, New York April 20 – June 30, 2017 April 20 – May 26, 2017 Joint Opening Reception: Wednesday, April 19, 5:30–8 p.m. New York—Pace Gallery and Acquavella Galleries are pleased to announce "Calder / Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate. Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. Calder: Constellations will be on view from April 20 through June 30 at Pace Gallery, 32 East 57th Street, and Miró: Constellations will be on view from April 20 through May 26 at Acquavella Galleries, 18 East 79th Street. A joint opening reception will be held on Wednesday, April 19 from 5:30 to 8 p.m. at both galleries. "This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries," says Marc Glimcher. "The two artists tapped into a powerful artistic current, which allowed them to create these unique but resonant series, while they were totally isolated from each other.
    [Show full text]
  • A Late Summer Full of Inspiration and Activities Diy
    Are the images not displayed? View the HTML version. A LATE SUMMER FULL OF INSPIRATION AND ACTIVITIES Summer is drawing to a close and the museum has a number of special activities on the agenda for September. The bomb shelter of the Kröller-Müller Museum is opening, DIY workshops are being organized in the Rietveld pavilion and new exhibitions are coming. Want to know how to attend the activities and how to learn more about art from home? Then read on. DIY WORKSHOPS IN THE RIETVELD PAVILION MAKE YOUR OWN GARMENT Do you like art and fashion? Then we have good news for you. To celebrate the 40th anniversary of HUMANOID, you can make your own garment or bag in the Rietveld pavilion from Friday 3 September to Monday 6 September. Under the guidance of the HUMANOID creative team, you will work with the designs of HUMANOID. Want to participate in one of the workshops? Sign up via the ticket page and choose a day and time. Six time slots are available per day and the workshop lasts 45 minutes. The workshop is free, but you do need a pre- booked online ticket for the museum. Please note: the museum is located in the middle of De Hoge Veluwe National Park. Therefore, you must also pay for the park and purchase a separate ticket for this. Don’t delay because only a limited number of places are available. Sign up for the DIY workshop >> Creations of the workshop that are shared via social media have a chance to win a voucher of 500 euros to spend in the HUMANOID webshop.
    [Show full text]
  • THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
    THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years.
    [Show full text]
  • Conflicting Visions of Modernity and the Post-War Modern
    Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties.
    [Show full text]
  • Kateryna Gorlenko
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Master Thesis Art to Collect Art: Acquisition Policies of Museums of Modern Art from 1980s to the Present Author Kateryna Gorlenko Academic degree aspired Master (MA) Wien, 2010 Studienkennzahl : A 067 805 Studienrichtung:: Individuelles Masterstudium: Global Studies – A European Perspective Supervisor: Ao. Univ-Prof. i.R. Dr. Gernot Heiss Art to Collect Art: Acquisition Policies of Museums of Modern Art 2 Table of Contents List of tables ........................................................................................................ 4 Acknowledgements .............................................................................................. 5 Abbreviations ....................................................................................................... 7 Introduction ......................................................................................................... 8 1. Museum of Modern Art ................................................................................. 17 1.1. The Role Art Museums Play in Our Life ................................................................ 18 1.2. New Perspectives for Museums of Modern Art .................................................... 21 1.3. Is the Future of Museums of Modern Art in Danger? .......................................... 25 2. Tate Modern ................................................................................................... 30 2.1. Tate Modern:
    [Show full text]
  • Joan Miró, Black and Red Series : a New Acquisition in Context
    Joan Miró, black and red series : a new acquisition in context Author Museum of Modern Art (New York, N.Y.) Date 1998 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/229 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art A New Acquisition in Context The Museumof ModernArt, NewYork November19,1998-February 2, 1999 rck A ;W, The Museum of Modern Art Library /T A/The Museum of Modern Art recently acquired for its For Further Reading /«j permanent collection the Black and Red Series by Bradley, Fiona. Movements in Modern Art: Surrealism. London: Tate Gallery Publishing, 1997. Joan Miro (1893-1983). Consisting of eight etchings Capa, Cornell, and Richard Whelan, eds. Robert Capa: Photographs. New York: Alfred A. Knopf, 1985. created in 1938, the series joins a remarkable group Dupin, Jacques. Mird Engravings, Vol. 1 (1928-1960). New York: of works by M iro —paintings, drawings, collages, Rizzoli, 1989. Joan Miro: Paintings and Drawings 1929-41. London: Whitechapel sculptures, prints, illustrated books, and posters — Art Gallery; Barcelona: Fundacio Joan Miro, 1989. With texts by already in the Museum's collection. The Museum has Rosa Maria Malet and William Jeffett. Exhibition catalogue. Krauss, Rosalind. "Michel, Bataille, et moi." October, no. 68 long been committed to the study and exhibition of (spring 1994), pp. 3-20. Lanchner,Carolyn. Joan Miro. NewYork:The Museumof Modern Art, 1993.
    [Show full text]
  • Ovdje Riječ, Ipak Je to Po Svoj Prilici Bio Hrvač, Što Bi Se Moglo Zaključiti Na Temelju Snažnih Ramenih I Leđnih Mišića
    HRVATSKA UMJETNOST Povijest i spomenici Izdavač Institut za povijest umjetnosti, Zagreb Za izdavača Milan Pelc Recenzenti Sanja Cvetnić Marina Vicelja Glavni urednik Milan Pelc Uredništvo Vladimir P. Goss Tonko Maroević Milan Pelc Petar Prelog Lektura Mirko Peti Likovno i grafičko oblikovanje Franjo Kiš, ArTresor naklada, Zagreb Tisak ISBN: 978-953-6106-79-0 CIP HRVATSKA UMJETNOST Povijest i spomenici Zagreb 2010. Predgovor va je knjiga nastala iz želje i potrebe da se na obuhvatan, pregledan i koliko je moguće iscrpan način prikaže bogatstvo i raznolikost hrvatske umjetničke baštine u prošlosti i suvremenosti. Zamišljena je Okao vodič kroz povijest hrvatske likovne umjetnosti, arhitekture, gradogradnje, vizualne kulture i di- zajna od antičkih vremena do suvremenoga doba s osvrtom na glavne odrednice umjetničkog stvaralaštva te na istaknute autore i spomenike koji su nastajali tijekom razdoblja od dva i pol tisućljeća u zemlji čiji se politički krajobraz tijekom povijesnih razdoblja znatno mijenjao. Premda su u tako zamišljenom povijesnom ciceroneu svoje mjesto našli i najvažniji umjetnici koji su djelovali izvan domovine, žarište je ovog pregleda na umjetničkoj baštini Hrvatske u njezinim suvremenim granicama. Katkad se pokazalo nužnim da se te granice preskoče, odnosno da se u pregled – uvažavajući zadanosti povijesnih određenja – uključe i neki spomenici koji su danas u susjednim državama. Ovaj podjednako sintezan i opsežan pregled djelo je skupine uvaženih stručnjaka – specijalista za pojedina razdoblja i problemska područja hrvatske
    [Show full text]