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Gordon Onslow Ford Voyager and Visionary
Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig. -
Reconsidering the Female Monster in the Art of Leonor Fini
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository Sphinxes, Witches and Little Girls: Reconsidering the Female Monster in the Art of Leonor Fini Rachael Grew Abstract As champions of the irrational and the uncanny, the Surrealists frequently incorporated classical monsters into their art as part of their search for a new modern myth. However, these creatures became subject to gender codification, with the sphinx and chimera in particular becoming attached to the imagery surrounding the sexually provocative, castrating femme-fatale. The woman Surrealist Leonor Fini (1907-1996) diverged from the Surrealist norm to create complex and ambiguous monsters, rather than simply expressions of the lethally enticing femme-fatale. Fini uses a range of monsters in her art, from the classical sphinx to creatures of popular culture, such as the witch and the werewolf. These monsters are almost always female, or at the very least androgynous, yet the actions and attitudes they are found in invites a new reading of the destructive female monster and/or the ‘monstrous’ female. Equally, the children and adolescent girls that appear in her work are often depicted in a negative light: they are ugly, unkind and selfish. Through a detailed iconographical analysis, this paper will explore Fini’s use of both traditional and non-traditional monsters as a method of subverting preconceived gender and social codes, ultimately reconsidering the notion of what exactly is monstrous. Key words: Surrealism, Fini, myth, monsters, sphinx, witch, stryge, woman. ***** The female monster in both classical and popular traditions, such as the sphinx, chimera, siren and witch, is frequently associated with depraved sexuality and destruction. -
Univerzitet Umetnosti U Begoradu Ţensko Telo U
Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1. -
Joseph Albers (Bottrop 1888 – New Haven 1976)
Joseph Albers (Bottrop 1888 – New Haven 1976) “Facile – sapere che i diamanti sono preziosi Bene – imparare che i rubini sono profondi più difficile – vedere che un sassolino è un miracolo”. Cenni biografici Pittore, grafico, designer tedesco, Joseph Albers comincia ad insegnare a Lagenhorst in Germania nel 1908, continuando a studiare fino agli anni Venti: prima a Essen e a Berlino per imparare le tecniche a stampa; poi disegno a Monaco come allievo di Franz von Stuck. Nel 1920, s’iscrive al Bauhaus di Weimar, dove segue i corsi di Johannes Itten e si specializza con un percorso autonomo nella pittura su vetro. È in quegli anni che disegna una serie di vetrate e mobili per Walter Gropius, direttore del medesimo istituto. Quando Itten lascia il Bauhaus, Albers prende il suo posto tenendo corsi sul design, l’architettura d’interni e i materiali. Nel 1925, dopo essersi trasferito con la moglie Anni a Dessau, è nominato Professore al Bauhaus. Dal 1926 alla seconda Guerra Mondiale, produce oggettistica e arredo, continuando ad insegnare e viaggiando per conferenze e mostre in Germania e Europa. Nel 1930, è vicedirettore del Bauhaus presieduto dal 1928 da Hannes Meyer, che gli organizza nel 1932 la prima monografica dei suoi lavori su vetro. È nel 1935 che produce i suoi primi oli astratti, dopo che la guerra lo obbliga ad espatriare in America. Continua ad insegnare, inizialmente al Black Mountain College nel North Carolina (di cui diventa rettore nel 1948), mentre comincia a viaggiare in Sudamerica (soprattutto in Messico). Dal 1950, si sposta in molte università americane come “visiting professor” e dà vita alla celebre serie di Omaggi al quadrato. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Maria Sofia Pimentel Biscaia Leituras Dialógicas Do Grotesco: Dialogical
Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro e da Doutora Maria Aline Salgueiro Seabra Ferreira, Professora Associada do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Presidente Prof. Doutor José Carlos da Silva Neves Professor Catedrático da Universidade de Aveiro Prof. Doutor Mário Carlos Fernandes Avelar Professor Associado com Agregação da Universidade Aberta Profª. Doutora Ana Gabriela Vilela Pereira de Macedo Professora Associada da Universidade do Minho Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro Profª. Doutora Maria Aline Salgueiro Seabra Ferreira Professora Associada da Universidade de Aveiro Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Profª. Doutora Adriana Alves de Paula Martins Professora Auxiliar da Universidade Católica Portuguesa - Viseu Agradecimentos A elaboração desta dissertação foi possível graças ao apoio financeiro da FCT e do FSE, no âmbito do III Quadro Comunitário. As condições de acolhimento proporcionadas pelo Departamento de Línguas e Culturas e pelo Centro de Línguas e Culturas foram essenciais para o cumprimento atempado do projecto. -
Drawing Surrealism Didactics 10.22.12.Pdf
^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
Williams Percussion Ensemble Noise/Signal
Williams Percussion Ensemble Noise/Signal We call “noise” any undesirable signal in the transmission of a message through a channel, and we use this term for all types of perturbation, whether the message is sonic or visual. Thus shocks, crackling, and atmospherics are noises in radio transmission. A white or black spot on a television screen, a gray fog, some dashes not belonging to the transmitted message, a spot of ink on a newspaper, a tear in a page of a book, a colored spot on a picture are “noises” in visual messages. A rumor without foundation is a “noise” in a sociological message. At first sight, it may seem that the distinction between “noise” and “signal” is easily made on the basis of the distinction between order and disorder. A signal appears to be essentially an ordered phenomenon while crackling, or atmospherics, are disordered phenomena, formless blotches on a structured picture of sound. However, there is no absolute structural difference between noise and signal. They are of the same nature. The only difference which can be logically established between them is based exclusively on the concept of intent on the part of the transmitter: A noise is a signal that the sender does not want to transmit. Or, more generally: A noise is a sound we do not want to hear. — Abraham Moles, from Information Theory and Esthetic Perception In the ordered world of Western art music, percussion has long been employed to bring in the noise. The bulk of the percussion family is in fact comprised of instruments that produce noise rather than tone. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
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. -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ......................