DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyrighted Material JWST910-IND JWST843-Meecham May 4, 2018 8:43 Printer Name: Trim: 244mm × 170mm Index Note: Page numbers in bold refer to illustrations. 69th Regiment Armory Building 127, 136, 325, 391 as stranglehold 220 860–880 Lake Shore Drive 264, 271–2 and Swedish modernism 366–9 1900: Art at the Crossroads exhibition 147 absurdity 48 abyss, existence as 20 Aalto, Alvar 379, 380, 384–6, 387, 480 academie´ 84–5 Aarhus Art Museum 229 Academie´ Matisse, Paris 360, 362–3, 362 Abbott, Berenice 181 academies 446 Broadway and Rector from Above (1935) 181, Academy of Art, Australia 326 181 Academy of Things, The exhibition (2014) 223 Abelam 91, 104 Accara (rebel slave) 411, 418 Abelardo L. Rodr´ıguez Market, Mexico City Acropolis, Athens 76, 268 299–300 activism, grassroots 445 Aberth, Susan L. 116 activist art 4, 391, 394–8, 414 Aboriginal art 41–4, 46, 50 Adams, Ansel 180 Aboriginal culture 38–9, 41, 43 ADC see Art Director’s Club About, Edmond 507 adolescence 498, 503, 505, 506–7 Abraham Lincoln High School 398, 402–3 Adorno, Theodor 58, 236 Abramovic,´ Marina 43–4, 48 Adrian-Nilsson, Gosta¨ 361 Abstract Expressionism 1, 393, 474, 485, 487 AEG see Allgemeine Elektricitats-Gesellschaft¨ and Australian art 332 Aesop’s fables 432–3 as focus of modernism 10, 392, 400 aesthetic certainty 2 political use during the Cold War 407 aesthetic experience 21, 25 resistance to 403–4, 406 aesthetic innovation 2–3 abstraction 59 aesthetic life 18–19, 21, 29 abstract figurative art 219, 221 aesthetic orthodoxy 2 abstract murals 398–401, 402 aesthetic radicalism 181 American 213 aesthetic values 418 Aubrey Williams’s use of 414 aesthetics 5 and Australian art 322–3, 325–6, 328–31, 335 adversarial 1 and capitalist commercialism 212 American Abstract Artists’ 399–400 depoliticization through 212, 213 Asmat 100 dominance 414 display 127, 131, 133 and the East-West binary 303 Kantian 435–6 formalist 187 make-do-and-mend 138 German 212, 214, 215 Marxist 250 and Greek art 74, 80,COPYRIGHTED 81–2, 84 modernist MATERIAL 331 hybrid 219, 221 Nietzschean 17–33 and modernism 335 photo-aesthetics 170, 173, 176, 177, 180, 181, and the modernist aesthetic 331 182 and photography 176, 177, 192 and primitivism 93, 95, 96, 100 and primitivism 46 relational 391 representation as 220–1 Romantic 18, 20, 24, 25 set against realism 216–18 af Klint, Hilma 9, 360, 366–9, 439 severe geometric 215 At Work 369 Soviet 212, 215 Chimney Sweepers 269 A Companion to Modern Art, First Edition. Edited by Pam Meecham. © 2018 John Wiley & Sons, Inc. Published 2018 by John Wiley & Sons, Inc. JWST910-IND JWST843-Meecham May 4, 2018 8:43 Printer Name: Trim: 244mm × 170mm 518 ◼◼◼ INDEX af Klint, Hilma (Continued) Anderson, Wallace 334 “excavation” of the works of 367 Evacuation (1928) 332–3 Grupp IV, De tio Storsta¨ (1907) 366 Andre, Carl 253 Paintings for the Temple 367, 368 angles of vision 168, 170, 173, 176, 179, 183 Restless Work 370 Anglo-Irish Revivalists 111 Riddarholmsfjarden¨ at Winter Time 369 Angry Penguins 327–8 Serie WU/Rosen, Grupp 1 (1906–1907) 366 animism 27–8 Africa 61–5, 91, 104 annihilation 40–1, 215 Central 61–3 “Anschauung” 435 myths of 59, 61–3 Anthias, Tefkros 349 West 64 Holy Satan, Bless Me (1930) 349 Africa museum, Tervuren 61 The Second Coming (1931) 349 African American artists 394–8, 406 anthropology 43, 64–5, 304–5, 455 African art 441 and cultural equality 340 African “backwardness”, myths of 61–2 and curatorial strategies 302 African man, representation 416 paradigm shift 304 African Negro Art exhibition (1935) 65, 96 and social constructivism 304 African people 60 anthropomorphism 508 Agamben, Giorgio, “What is the Contemporary?” anthroposophy 438–9 200–1 anti-austerity protests, Greece 7, 257 Agee, James 171 anti-colonialism 110, 159, 414, 415, 419, 421 agency, Indian 486 anti-fascism 215–16, 217 agrarian economies, modernization 9, 375 anti-monuments 335 agriculture, Cypriot 348 anti-portraits 192–3 Aho, Juhani 382 anti-war 233 AIZ (Arbeiter Illustrierte Zeitung) (magazine) 171 Anzac soldiers 331, 333, 335 Al-Azzawi, Dia, Sabra and Shatila Massacre apartheid, end of 2 (1982–1983) 233 apartment blocks 386 Alapuro, Risto 375 Apollinaire, Guillaume 19, 365 Alaska 109 Apollo 24, 27 Albers, Anni 443 Apollonian principle 21, 22, 24 Albers, Josef 439, 443 Appadurai, Arjun 2, 304–5 Alberti, Leon Battista 167 Arab slavers 62 Albertian perspective 78–9, 80, 83, 167 Araeen, Rasheed 302 Albertinum Museum 218 Aragon, Louis 110 Alfred Schmela Gallery 428–9 Paris Peasant (1926) 118 alienation 46, 174, 283, 293, 296, 304 Aran islanders 111 alienation effects 233 Aranda (Arrernte) 38–9, 41, 42 and modernism 300 Arbeiter Illustrierte Zeitung (AIZ) (magazine) and Noguchi 304, 312 171 allegorical mode 61 archaic 5 allegory 406, 411, 453 Archaic (pre-Classical) Greek art 76, 77, 78, Allgemeine Elektricitats-Gesellschaft¨ (AEG) 271, 81–5 378 and the modern 6, 109, 111, 112, 113, 117, 118, Alston, Charles 397, 406 122–3 Modern Medicine (1940) 395–6, 395, 398, 403 and the present 201 Alte Pinakothek, Munich 136 archetypal 20 Altschuler, Bruce 135 archetypes 113 Amanamkai 99–100 architectural modernism 7, 263–80 ambiguity, institutionalization 431–2 Dessau 268–9 AmericaisHardtoSeeexhibition (2015) 146 failure 276 American Abstract Artists, aesthetics 399–400 Finnish 379–80, 381–2, 384–7 American Painting Today exhibition (1950) 137 functionalist 385 American Scene painting 393 Glasgow 7, 274–5 amor patriae (love for an imagined fatherland) Hollywood 266–7 381 IKEA Wuhan, China 7, 276–8 anatomical knowledge 84 multiplicity 263–5 ancient Egyptian art 79 Paris 267–8 ancient Greek art Richmond, California 270–1 as ancient modernism 5, 73–86 Rio de Janeiro 269–70 diversity 75–6 St Louis, Missouri 275–6 Anderson, Benedict 346, 380–1 Vienna 265–6 JWST910-IND JWST843-Meecham May 4, 2018 8:43 Printer Name: Trim: 244mm × 170mm INDEX ◼◼◼ 519 architecture and display 139 Art Nouveau 267 and the dissident’s point of view 221 and Eurocentric histories 269 feminist 257, 368–9 and photography 183–4 Finnish 384 “architecture” 240 global 50 Arget, Eugene` 181 and globalization 233 Argyrou, Vassos 341 and the installation shot 6, 127, 134 Armory shows 127, 136, 325, 391 and neoclassicism 77 Armstrong, Tim 111 “neutrality” 223 Arp 212, 399, 401 and the Parisian hegemony of modern art 359 Arrernte see Aranda and photography 184 Arric vases 83 and Picasso’s classicism 73 “Art & Language” Index installations (early 1970s) Southeast Asian 158–9 69 and Swedish modernism 359 Art of the Asmat, New Guinea: The Michael C see also social history of art Rockefeller Collection, The 102 Art Institute of Chicago 480 Art in Australia (journal) 321 Art of Lake Sentani, The exhibition 96 Art of Australia, The (1788–1941) (1941) 41 Art in the Life of the Child exhibition, St. Petersburg Art Director’s Club (ADC) 405 (1908) 475 art discourse apparatus 234 Art Nouveau architecture 267 art education 10, 427–48, 473–9 art objects alternative possibilities for 446 dematerialization of the centrality of 431, 444 anti-intellectual 433–4 photographic reproduction 167–8 as a challenge to neoliberalism 446 singularity/uniqueness (auras) 168, 172 and art as language 440–1, 444 Art of Oceania… exhibition (1969) 103 and art as unteachable 437 Art in Our Time exhibition (1939) 481 and the avant-garde 432, 440, 441, 445 art pedagogy, international exchange 474, 486 and Bauhaus 436–8 Art of the South Seas, The exhibition (1946) 65, 94, 96 and the beautification of the world 434–5 Art Styles of the Papuan Gulf exhibition 98 and the beaux-arts/fine art academic model Art Teachers’ Guild 440 433 Art Theory, and postmodernism 234 British 439–40 “Art of This Century” Gallery 139–40 and charismatic tutors 428–31 Art of the Two Germanys exhibition 223 conceptual leaps of 439 Art Work by Children of Other Countries exhibition in different nations 434 480 early reform 432–3 art workers 253–4 early/proto-modern 433 see also artists and educational retreats 441–3 “Art Workers” Coalition 253 and the educational turn 445 art/artefact dichotomy 146 elementary curriculum for children 435 Artaud, Antonin 19, 111–12, 122 exhibitions’ focus on 445 Artek Company 379 and fables of modern art 427, 432–3, 443–4 artist-seer 20 and fees 432 artistic critique 248, 252–3, 255, 258 and formalism 444 artistic production 7, 245–58 laissez-faire method 479 as aesthetically modern 247 and modernism 10, 427–46 in extensive modernity 250–6 parables for 427, 428, 430, 431, 445 as historically modern 245, 252–3 and a pedagogy of ambiguity 431–2 artists Preliminary/Foundation Courses 428, 443 artist as citizen 393 and social values 10 artist as emigr´ e´ in the city 283 and teacher training 436, 441 characterization of modern 3 Victorian reforms 433–4 demographics and employment patterns 252–3 why art is taught 439–40 duty to tell the correct story 215–16 Art Exhibition of the GDR, The 218 failed 252, 257 art gallery, Foucauldian notions 6, 127–8 mythology of the modern artist 69 art historiography, Cypriot 351 photographers as 170 art history 57, 62–3, 145–6, 150, 153, 154 primitive 361 American 391–2, 406 as reproducers 257 Australian 321, 329 artists’ colonies and Classical Greek art 77, 80 Finnish 382, 384 disciplinary changes 2 rural 287 and the discourse of large exhibitions 217 Artists Union 394 JWST910-IND JWST843-Meecham May 4, 2018 8:43 Printer Name: Trim: 244mm × 170mm 520 ◼◼◼ INDEX Arts and Crafts movement 268, 308, 434, 437 and Indigenous artists 322 Aryan body ideal 209 international nature 325 Aryan ethos 217 and landscape 323, 324, 330, 331 Ascherson, Neal
Load more

Recommended publications
  • Open Windows 10
    Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent­ hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys­ sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten. Erst um 1925 wurde sle in besdieidenen An­ fll.ngen von August Thyssen ge­ grilndet, dann von dessen SOh­ nen, zumal von Heinrkh Thys­ sen, entscheidend ausgebaut. Jetzt billet und vermehrt sie der Enke!. B~i d~r_ErOff11ungsfeicr,zu d~r auch l I ~~~~e~~l:~~n F~~~m~~!sr:::~ei:~ _,_,J NRW ersdli,:mcn war, -sagte Ober- - / ~~;~::~:ii5~c~dlNJ!:~n;(o~W~ti.~: Baron und ::;o;~~ lhJ,~~!~!~g~:::,~~~~::~o,::;~~:.;';~'::i~~=~Nie1wolldt ;~~~:::ig~\t~~~~"::::cann1~bt~~J st~Uung in der Bund~srepublik K{iln, nerer Tcil der Sammlung Thysscn- :U~~!~:~\:~s:J~;~n:,!%~'~!i~gd~::~ ~o~qs:~ldi~u~~Esj~~ i1~0;~~:~~:J1a~~; t:;ge 1~is~~~~~:_uE'!1::~dd!~tg:t:J:;; t~~}:~~:~ J1~!~1:~~::1gs;;;;:;n;u;::: ;;~~7i~gd~~S:s~~n ~zt:~:~ieiab:t ;ii~e~u;/~:?n_anredtnen, iwe1tep_~~~: komme, der eines solchen Ausgleidts lugano - Rotterdam - Essen I drin9en? bedarf. Baron_H. ~-1.Thyssen· So trafen denn die behutsamgepfleg­ Bornem!sza sdtl!derte in einer kuncn ten Schiille in drei wohlgesidierlen Relle die_ En\widdu~g Iler Sammlu~g Transporten die Fahrt von Rotterdam und erklarte dann die Ausstellung fur nadl Essen an, nadldem sie ein paar fig.
    [Show full text]
  • Copyrighted Material
    BLBK621-01 BLBK621-Green Printer: Yet to Come January 18, 2016 19:3 Trim: 229mm × 152mm Part 1 The Second Wave COPYRIGHTED MATERIAL 17 BLBK621-01 BLBK621-Green Printer: Yet to Come January 18, 2016 19:3 Trim: 229mm × 152mm Figure 1.1 City view, Kassel, during documenta, with at left the Museum Frideri- cianum, documenta’s main venue. Photograph Charles Green. 18 BLBK621-01 BLBK621-Green Printer: Yet to Come January 18, 2016 19:3 Trim: 229mm × 152mm 1 1972: The Rise of the Star-Curator Exhibitions in this chapter: documenta 5: Befragung der Realitat,¨ Bildwelten heute (documenta 5: Questioning reality, image worlds today) (1972, Kassel, Germany) Introduction The focus of this chapter is documenta5: Befragung der Realitat,¨ Bildwel- ten heute (Questioning reality: Image worlds today), the landmark 1972 edition of documenta. Founded in 1955 by veteran art historian Arnold Bode and now held every five years in the German city of Kassel, docu- menta was from the outset intended to be a survey exhibition of modern art. Although it initially played a secondary role to a monster-sized flower show in this small provincial city – located closer to the East German bor- der than to Cologne or Dusseldorf,¨ West Germany’s principal art centers – documenta is now widely regarded as the most important mega-exhibition of all.1 Inclusion in documenta is an even surer marker of an artist’s impor- tance than selection into Venice, Sao˜ Paulo, or any of the other biennials described in this book. documenta 5 was directed by the immensely influential Swiss curator Harald Szeemann.
    [Show full text]
  • Kuvakirjasto Nordstromin Kokoelma.Pdf
    Lars-Gunnar Nordströmin kirjakokoelma Taideyliopiston kirjastossa / Lars-Gunnar Nordström's collection in the University of the Arts Helsinki Library Nimeke / Title Tekijä / Author Julkaisuvuosi / Publishing year Julkaisija / Publisher New York : Museum of Modern Art ; Picasso and Braque : pioneering cubism William Rubin 1989 Boston Richard Serra edited by Ernst-Gerhard Güse ; with contributions by Yves-Alain Bois ... [ja muita]. 1988 New York, N.Y. : Rizzoli Piet Mondrian : 1872-1944 Yve-Alain Bois, Joop Joosten, Angelica Zander Rudenstine, Hans Janssen. 1994 Boston : Little, Brown and Company Franciska Clausen. Bd. 2, I "de kolde skuldres land" 1932-1986 Finn Terman Frederiksen. 1988 Randers : Buch Salvador Dalí: rétrospective 1920-1980. Centre Georges Pompidou. 1980 Paris : Centre Georges Pompidou Russia: an architecture for world revolution / El Lissitzky ; translated by Eric Dluhosch Lissitzky, El 1970 London : |b Lund Humphries, |c 1970. Kandinsky François Le Targat 1986/1988 London : Academy Editions New York : Solomon R. Guggenheim Kandinsky at the Guggenheim Vivian Endicott Barnett 1983 Museum : Abbeville Press Varvara Stepanova : a constructivist life A. N. Lavreniev; John E. Bowlt 1988 London : Thames and Hudson P.O. Ultvedt : Tvivel och övermod : arbeten från 1945 till 1988 Per Olof Ultvedt; Malmökonsthall 1988 Malmö: Den konsthall Sonia Delaunay : fashion and fabrics Jacques Damase 1991 New York : H.N. Abrams Jackson Pollock Daniel Abadie; Claire Stoullig; Musée national d'art moderne (France) 1982 Paris : Centre Georges
    [Show full text]
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • Documents (Pdf)
    Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada.
    [Show full text]
  • Künstlerische Praxis Aus Dem Blickwinkel Der Documenta11 Hrsg
    Hamburg University Press Bernhard Balkenhol art unrealized – 3-937816-21-6 ISSN 1613-1339 ISBN künstlerische Praxis aus dem Blickwinkel der Documenta11 Kunstpädagogische Universität Hamburg 12/2006 Kunstpädagogische Positionen Positionen 12 Editorial Gegenwärtig tritt die Koppelung von Kunst & Pädagogik, Kunstpädagogik, weniger durch systematische Gesamt- entwürfe in Erscheinung, als durch eine Vielzahl unter- schiedlicher Positionen, die aufeinander und auf die Geschichte des Faches unterschiedlich Bezug nehmen. Wir versuchen dieser Situation eine Darstellungsform zu geben. Wir beginnen mit einer Reihe von kleinen Publikationen, in der Regel von Vorträgen, die an der Universität Hamburg gehalten wurden in dem Bereich, den wir FuL (Forschungs- und Le[ ]rstelle. Kunst – Pädagogik – Psychoanalyse) genannt haben. Im Rahmen der Bildung und Ausbildung von Stu- dierenden der Kunst & Pädagogik wollen wir Positionen zur Kenntnis bringen, die das Lehren, Lernen und die bildenden Effekte der Kunst konturieren helfen. Karl-Josef Pazzini, Eva Sturm, Wolfgang Legler, Torsten Meyer Bernhard Balkenhol art unrealized – künstlerische Praxis aus dem Blickwinkel der Documenta11 hrsg. von Karl-Josef Pazzini, Eva Sturm, Wolfgang Legler, Torsten Meyer Kunstpädagogische Positionen 12/2006 Hamburg University Press Es ist bald ein Jahr her, dass die Documenta11 ihre Tore in Kassel geöffnet hat. Heute vor einem Jahr wurde noch heftig an dieser immer noch bedeutendsten Ausstellung gearbeitet. In der Binding-Brauerei war fast noch gar nichts gehängt/aufgebaut, weil sich wegen der ungeklär- ten Frage, wer den Umbau der Brauerei in ein Museum der 100 Tage bezahlen soll, alles sehr verzögert hatte. Aber Okwui Enwezor, der künstlerische Leiter der D11, hatte einen genauen Plan für seinen White Cube, den er dann auch durchgesetzt hat.
    [Show full text]
  • Dada Surrealism and Expressionism
    • Dada was an art movement formed during the First World War in Zurich in 1916 in negative reaction to the horrors and folly of the war. The art, poetry and performance produced by Dada artists is often satirical and nonsensical in nature. Dada artists felt war called into question every aspect of society and their aim was to destroy all traditional values and assumptions. Dada was also anti-bourgeois and aligned with the radical left. The founder of Dada was a writer, Hugo Ball and in 1916 he started a satirical night-club in Zurich, the Cabaret Voltaire. Dada became an international movement and was the basis of Surrealism in Paris after the war. Leading artists associated with it include Jean Arp (1886-1966), Marcel Duchamp (1887-1968), Francis Picabia (1879-1953) and Kurt Schwitters (1887- 1948). Duchamp’s questioning of the fundamentals of Western art had a profound subsequent influence. • Surrealism was founded by French poet André Breton in Paris in 1924 and it became an international movement including British Surrealism which formed in 1936. Surrealists were strongly influenced by Sigmund Freud (the founder of psychoanalysis) and his theories about the unconscious and the aim of the movement was to reveal the unconscious and reconcile it with rational life. Key artists involved in the movement were Salvador Dalí, Max Ernst, René Magritte and Joan Miró. Two broad types of surrealism can be seen: one based on dreamlike imagery and the other on automatism (a process of making which unleashed the unconscious by drawing or writing without conscious thought). Some (such as Max Ernst) used new techniques such as frottage and collage to create unusual imagery.
    [Show full text]
  • Surrealism and Psychoanalysis in the Work of Grace Pailthorpe and Reuben Mednikoff
    Surrealism and Psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff: 1935-1940 Lee Ann Montanaro Ph.D. History of Art The University of Edinburgh 2010 Declaration I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. ABSTRACT The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity.
    [Show full text]
  • Download File
    Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p.
    [Show full text]
  • Open Windows 10
    Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent­ hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys­ sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten.
    [Show full text]
  • JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
    Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show.
    [Show full text]
  • II. Documenta: Origini, Linee Teoriche E Modelli
    II. Documenta: origini, linee teoriche e modelli 2.1 Perché proprio Kassel? Documenta nasce con lʼambizione di documentare lo stato dellʼarte nella Germania Federale del 1955 e quindi di porsi come luogo di recupero di un passato che era stato messo al bando fino a dieci anni prima, ma anche come punto di indagine critica capace di fornire delle direttive per il presente, facendo della città in cui è collocata un luogo simbolico di primaria importanza. Centro cruciale nella politica del Terzo Reich, in qualità di snodo ferroviario primario, nel cuore della Germania, e sede delle principali industrie di armamenti e dei ministeri militari, Kassel era stata letteralmente rasa al suolo dai bombardamenti che, dal 1943, avevano portato alla distruzione di oltre lʼ80% della città1 (fig.1). Marginalizzata nel nuovo assetto tedesco, in cui veniva a collocarsi come “periferia del mondo libero”2, ad appena 30 km dal confine con la Deutsche Demokratische Republik, la città era sostanzialmente esclusa dai piani di ricostruzione e si trovava, ancora negli anni ʼ50, in uno stato di sostanziale abbandono3. Alla fine del 1953, nel primo modello teorico di documenta, Arnold Bode affermava che Kassel, collocata a ridosso della zona confine, era la città “predestinata” per una mostra che avesse lʼambizione di manifestare il “pensiero dellʼEuropa” 4. Fin dalle sue prime fasi di pianificazione, lʼesposizione è concepita dunque non semplicemente come una mostra artistica, ma come un luogo denso di significati sovrapposti, capace di porsi come simbolo identitario laddove proprio la questione identitaria si poneva come problema cruciale per la Germania Federale: da una parte i suoi promotori intendevano come una “missione” il reintrodurre la propria nazione allʼinterno di un processo culturale da cui era stata forzatamente esclusa negli anni della dittatura nazista, facendo della 1 Cfr.
    [Show full text]