DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents Contents 8 Modern Art 104 Pablo Picasso 196 Futurism 292 Realism Preface by Hans Werner Holzwarth 106 Gustav Klimt 198 Art + Action + Life = Futurism 294 The Truth of the Visible 108 Egon Schiele Essay by Sylvia Martin Essay by Kerstin Stremmel 14 Impressionism 214 Umberto Boccioni 312 Tamara de Lempicka 16 Pictures Created from 110 Cubism 216 Gino Severini 314 Georgia O’Keeffe Light and Colour 112 A New Cognitive Order? 218 Giacomo Balla 316 Max Beckmann Essay by Karin H. Grimme Essay by Anne Ganteführer-Trier 220 Carlo Carrà 318 Christian Schad 34 Gustave Caillebotte 130 Pablo Picasso 222 Filippo Tommaso Marinetti 320 Grant Wood 36 Edgar Degas 132 Georges Braque 322 Diego Rivera 38 Claude Monet 134 Robert Delaunay 224 Abstract Art 326 Edward Hopper 40 Mary Cassatt 136 Marc Chagall 226 Paintings of Autonomous Signs 328 Balthus 42 Pierre-Auguste Renoir 138 Albert Gleizes Essay by Dietmar Elger 330 Charles Sheeler 44 Alfred Sisley 140 Fernand Léger 244 Kazimir Malevich 332 Felix Nussbaum 46 Camille Pissarro 142 Jean Metzinger 246 Alexander Rodchenko 48 Auguste Rodin 144 Juan Gris 248 El Lissitzky 334 Surrealism 50 Georges Seurat 250 László Moholy-Nagy 336 A New Declaration of 52 Paul Cézanne 146 Expressionism 252 Wassily Kandinsky the Rights of Man 54 Vincent van Gogh 148 A Metaphysical German Meatloaf 254 Theo van Doesburg Essay by Cathrin Klingsöhr-Leroy 58 Paul Gauguin Essay by Norbert Wolf 256 Constantin Brancusi 354 Giorgio de Chirico 60 Henri Rousseau 164 Max Pechstein 258 Paul Klee 356 Max Ernst 62 Henri de Toulouse-Lautrec 166 Alexej von Jawlensky 260 Piet Mondrian 358 Man Ray 64 Claude Monet 168 Erich Heckel 360 Joan Miró 66 Paul Signac 170 Ernst Ludwig Kirchner 262 Dadaism 362 Hans Bellmer 68 André Derain 172 Oskar Kokoschka 264 Before Dada Was There, 364 René Magritte 70 Henri Matisse 174 Wassily Kandinsky There Was Dada 366 Hans Arp 72 Paul Cézanne 176 Franz Marc Essay by Dietmar Elger 368 Pablo Picasso 178 Ludwig Meidner 280 Marcel Duchamp 370 Salvador Dalí 74 Symbolism 180 August Macke 282 Francis Picabia 372 Richard Oelze 76 Faced with the Sphinx 182 Emil Nolde 284 Raoul Hausmann 374 Yves Tanguy Essay by Norbert Wolf 184 Wilhelm Lehmbruck 286 Hannah Höch 376 Paul Delvaux 92 Edward Burne-Jones 186 Amedeo Modigliani 288 Kurt Schwitters 378 Matta 94 Odilon Redon 188 George Grosz 290 Man Ray 380 Wifredo Lam 96 Franz von Stuck 190 Otto Dix 382 Frida Kahlo 98 Edvard Munch 192 Chaïm Soutine 384 Salvador Dalí 100 James Ensor 194 Lyonel Feininger 386 Jean Fautrier 102 Ferdinand Hodler 388 Jean Dubuffet 4 Contents — 5 001-013_MODERN_ART_HC_BU_GB_45435.IND75001-013_MODERN_ART_HC_BU_LITHO_45435.IND75 4 4 04.11.1510.09.15 15:3213:35 001-013_MODERN_ART_HC_BU_GB_45435.IND75001-013_MODERN_ART_HC_BU_LITHO_45435.IND75 5 5 04.11.1510.09.15 15:3213:35 390 Alexander Calder 464 Pop Art 558 Carl Andre 634 Martin Kippenberger 392 Henri Matisse 466 The Tension between 560 Donald Judd 636 Jeff Koons 394 Alberto Giacometti Art and Reality 562 Richard Serra 638 Damien Hirst 396 Henry Moore Essay by Klaus Honnef 564 Joseph Beuys 640 Robert Gober 398 Wols 484 Jasper Johns 566 Brice Marden 642 Paul McCarthy 486 Robert Rauschenberg 644 Albert Oehlen 400 Abstract 488 Claes Oldenburg 568 Conceptual Art 646 Christopher Wool Expressionism 490 Peter Phillips 570 Ideas, Systems, Processes 648 Ai Weiwei 402 A Constant Searching 492 Wayne Thiebaud Essay by Daniel Marzona 650 Beatriz Milhazes of Oneself 494 Andy Warhol 584 Joseph Kosuth 652 Thomas Struth Essay by Barbara Hess 498 Tom Wesselmann 586 Bruce Nauman 654 Peter Doig 418 Barnett Newman 500 Ed Ruscha 588 Robert Smithson 656 Neo Rauch 420 Clyfford Still 502 James Rosenquist 590 Alighiero Boetti 658 Andreas Gursky 422 David Smith 504 Richard Lindner 592 Marcel Broodthaers 660 Glenn Brown 424 Jackson Pollock 506 Roy Lichtenstein 594 On Kawara 428 Willem de Kooning 508 Sigmar Polke 596 Nam June Paik 662 Glossary 430 Sam Francis 510 George Segal 598 Gordon Matta-Clark 673 Index of Persons 432 Ad Reinhardt 512 David Hockney 600 Robert Morris 686 Biographical Notes on the Authors 434 Richard Diebenkorn 514 Lucian Freud 602 Christo and Jeanne-Claude 689 Photo Credits 436 Robert Motherwell 516 Georg Baselitz 604 James Turrell 438 Philip Guston 518 Gerhard Richter 606 Walter De Maria 440 Hans Hartung 520 Francis Bacon 442 Joan Mitchell 522 Fernando Botero 608 Post-Modernism 444 Adolph Gottlieb 524 Konrad Klapheck 610 A More Fully Human World 446 Franz Kline 526 Chuck Close than the Older One 448 Mark Rothko 528 Louise Bourgeois Essay by Hans Werner Holzwarth 450 Asger Jorn 530 Dieter Roth 614 Cindy Sherman 452 Hans Hofmann 616 Richard Prince 454 Yves Klein 532 Minimal Art 618 Julian Schnabel 456 Lucio Fontana 534 What You See 620 Jean-Michel Basquiat 458 Frank Stella Is What You See 622 Eric Fischl 460 Cy Twombly Essay by Daniel Marzona 624 Barbara Kruger 462 Josef Albers 550 Dan Flavin 626 Keith Haring 552 Sol LeWitt 628 Anselm Kiefer 554 Robert Ryman 630 Mike Kelley 556 Eva Hesse 632 Günther Förg 6 Contents — 7 001-013_MODERN_ART_HC_BU_GB_45435.IND75001-013_MODERN_ART_HC_BU_LITHO_45435.IND75 6 6 04.11.1510.09.15 15:3213:35 001-013_MODERN_ART_HC_BU_GB_45435.IND75001-013_MODERN_ART_HC_BU_LITHO_45435.IND75 7 7 04.11.1510.09.15 15:3213:35.
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils.
    [Show full text]
  • Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model
    Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2014 Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model Kirk Maynard Follow this and additional works at: https://digitalcommons.andrews.edu/honors Part of the Art and Design Commons Recommended Citation Maynard, Kirk, "Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model" (2014). Honors Theses. 92. https://digitalcommons.andrews.edu/honors/92 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. 2014 Kirk Maynard HONS 497 [TEACHING STRATEGIES: HOW TO EXPLAIN THE HISTORY AND THEMES OF ABSTRACT EXPRESSIONISM TO HIGH SCHOOL STUDENTS USING THE INTEGRATIVE MODEL] Abstract: The purpose of my thesis is to create a guideline for teachers to explain art history to students in an efficient way without many blueprints and precedence to guide them. I have chosen to focus my topic on Abstract Expressionism and the model that I will be using to present the concept of Abstract Expressionism will be the integrated model instructional strategy.
    [Show full text]
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Plastic Dynamism in Pastel Modernism: Joseph Stella's
    PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION by MEREDITH LEIGH MASSAR Bachelor of Arts, 2007 Baylor University Waco, Texas Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2010 ! ""! PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION Thesis approved: ___________________________________________________________________________ Dr. Mark Thistlethwaite, Major Professor ___________________________________________________________________________ Dr. Frances Colpitt ___________________________________________________________________________ Rebecca Lawton, Curator, Amon Carter Museum ___________________________________________________________________________ H. Joseph Butler, Graduate Studies Representative For the College of Fine Arts ! """! Copyright © 2009 by Meredith Massar. All rights reserved ! "#! ACKNOWLEDGMENTS I am grateful to all those who have assisted me throughout my graduate studies at Texas Christian University. Thank you to my professors at both TCU and Baylor who have imparted knowledge and guidance with great enthusiasm to me and demonstrated the academic excellence that I hope to emulate in my future career. In particular I would like to recognize Dr. Mark Thistlethwaite for his invaluable help and direction with this thesis and the entire graduate school experience. Many thanks also to Dr. Frances Colpitt and Rebecca Lawton for their wisdom, suggestions, and service on my thesis committee. Thank you to Chris for the constant patience, understanding, and peace given throughout this entire process. To Adrianna, Sarah, Coleen, and Martha, you all have truly made this experience a joy for me. I consider myself lucky to have gone through this with all of you. Thank you to my brothers, Matt and Patrick, for providing me with an unending supply of laughter and support.
    [Show full text]
  • A Southern California Visionary with Northern Michigan Sensibilities
    John Lautner By Melissa Matuscak A SOUTHERN CALIFORNIA VISIONARY WITH NORTHERN MICHIGAN SENSIBILITIES 32 | MICHIGAN HISTORY Architect John Lautner would have turned 100 years old on July 16, 2011. Two museums in his hometown of Marquette recently celebrated this milestone with concurrent exhibits. The DeVos Art Museum at Northern Michigan University focused on a professional career that spanned over 50 years and the Marquette Regional History Center told the story of the Lautner family. Combined, they demonstrated how in!uential his family and his U.P. upbringing were to Lautner’s abilities and his eye for design. nyone who has lived in the Upper Peninsula tends to develop a deeper awareness of nature, if only to anticipate the constantly changing weather. !e natural landscapes, and especially Lake Superior, are integral to the way of life in the region in both work and leisure. John Lautner’s idyllic childhood in Marquette stirred what By Melissa Matuscak would become an ongoing quest to create unity between nature and architecture. !e story of what made John Lautner a visionary architect begins with his parents. His father, John Lautner Sr., was born in 1865 near Traverse City, the son of German immigrants. !ough he began school late—at age 15—by age 32 John Sr. had received bachelor’s and master’s degrees in German literature from the University of Michigan. His studies took him to the East Coast and to Europe, but he eventually returned to Michigan to accept a position at Northern State Normal School (now Northern Michigan University) in Marquette in 1903.
    [Show full text]
  • The Greatest Artists of the Twentieth Century
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily.
    [Show full text]
  • The Era of the Dust Bowl September 6Th, – October 5Th, 2013
    The Era of the Dust Bowl September 6th, – October 5th, 2013 7060 State Route 104 Oswego, NY 13126 “A few good years, www.Oswego.edu with good prices, would be followed by too many horrid years and massive die-offs This event is free and open to the public. For additional information from drought and about this exhibition call the Art Department at 315.312.2113. For persons with disabilities needing assistance to attend this winter freeze-ups.” exhibition, please call in advance. Co-Sponsored by: Timothy Egan, The Worst Hard the Art Department, ARTSwego, Tyler Art Gallery, and Student Association. Gallery Hours: Time (2006), p. 22. Tuesday through Saturday, 11:30 am – 3:00 pm (closed Sunday, Monday, and school holidays) Starting in 1935, the Farm Security Administration (FSA) The Era of the Dust Bowl employed photographers to document American life including its hardships. The program resulted in often iconic images by Feeling detached from the European avant-garde gifted photographers such as Dorothea Lange and Walker Evans. and chastened by the Great Depression, many This exhibition contains thirty-six photographs by the three FSA American artists of the 1930’s turned to local, photographers who came to Oswego County: Arthur Rothstein often quintessentially American subjects depicted (1915-1985), Marjorie Collins (1912-1985) and John Collier in easily accessible styles. Collectively these artists (1913-1992). Though some of their work documents relatively were dubbed the American Scene Painters. In mundane locations and war-related formalities, Rothstein’s austere many ways their work was an extension of the genre and moving Wife and Child of a sub-marginal Farmer Looking through painting that flourished in America in the mid- their Window (Mrs.
    [Show full text]
  • American Gothic: a Life of America's Most Famous Painting/ American Gothic: the Biography of Grant Wood's American Masterpiece
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online The Annals of Iowa Volume 64 Number 2 (Spring 2005) pps. 185-187 American Gothic: a Life of America's Most Famous Painting/ American Gothic: the Biography of Grant Wood's American Masterpiece ISSN 0003-4827 Copyright © 2005 State Historical Society of Iowa. This article is posted here for personal use, not for redistribution. Recommended Citation "American Gothic: a Life of America's Most Famous Painting/American Gothic: the Biography of Grant Wood's American Masterpiece." The Annals of Iowa 64 (2005), 185-187. Available at: https://doi.org/10.17077/0003-4827.10903 Hosted by Iowa Research Online Book Reviews and-Notices 185 American Gothic: A Life of America's Most Famous Painting, by Steven Biel. New York: W. W. Norton & Co., 2005. 215 pp. Illustrations, notes, index. $21.95 cloth. American Gothic: The Biography of Grant Wood's American Masterpiece, by Thomas Hoving. New York: Chamberlain Bros., 2005. 165 pp. Illustra- tions, notes, appendix. $13.95 paper. Reviewer Karal Ann Marling is professor of art history and American studies at the University of Minnesota. Her many publications include Wall-to-Wall America: A Cultural History of Post Ojfice Murals in the Great Depression (1982 and 2000) and Debutante: Rites and Regalia of American Debdom (2004). The year 2005 marks the seventy-fifth anniversary of the most famous painting by Iowa's most famous painter. Grant Wood (1891-1942). Painted in 1930, Wood's American Gothic shows a balding man and a prim-faced woman standing in front of a carpenter-Gothic-style house in Eldon, Iowa.
    [Show full text]
  • TASCHEN Publishing House Bundles Logistics at Arvato
    TASCHEN Publishing House implements new logistics concept together with VVA TASCHEN Publishing House bundles logistics at Sonja Groß Arvato Head of Marketing & Communications Arvato Supply Chain Solutions August 12, 2020 Phone: +49 5241 80-41897 Gütersloh - VVA has won TASCHEN Verlag as a new customer at its [email protected] Gütersloh location. The publishing house is combining the move to the Arvato subsidiary, which began on July 1, 2020, with a reorganization of its international logistics concept. TASCHEN and the VVA are jointly optimizing the international supply chain. The core of the new concept is centralization at a European central warehouse at the Gütersloh location, which will gradually replace the regional warehouses existing in several countries. In the future, all customers in the European markets will be served directly from there. In addition, the publishing house's international sales partners will be linked to the European central warehouse. Until further notice, „KNV Zeitfracht“ will continue to supply the German-speaking book market. "I am very pleased that TASCHEN Publishing House has chosen us for this demanding project," says Stephan Schierke, President VVA. "Outside the usual VVA industry solution, we have worked with TASCHEN to develop tailor-made logistics for the world market. Arvato's cross-industry know-how will be of benefit to us in overcoming the special challenges in terms of logistics and IT". "The new solution will reduce our complexity, lower costs through synergy and economies of scale, and improve our service," said TASCHEN-COO Hans-Peter Kübler. "The prerequisite for such a challenging project is a strong and reliable partner, which we have found in the VVA.
    [Show full text]
  • 235-Newsletter.Pdf
    The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
    [Show full text]
  • Carte Italiane
    UCLA Carte Italiane Title Futurism's African (A)temporalities Permalink https://escholarship.org/uc/item/9nj8s8mx Journal Carte Italiane, 2(6) ISSN 0737-9412 Author McKever, Rosalind S Publication Date 2010-10-20 DOI 10.5070/C926011388 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Futurism’s African (A)temporalities Rosalind McKever Kingston University According to the anthropologist Marc Augé, a society’s way of symboli- cally treating space constitutes the given from which any individual born into that society’s experience is constructed; surely the same import applies to the symbolic treatment of time.1 This, in addition to Peter Osborne’s notion that the comprehension of modernity as a period of time should not be separated from the experience of time within that period, support the importance my research attributes to the under- standing of temporalities when addressing Futurism’s relationship with the past.2 This paper marks a widening of the spatio-temporal borders of this research from the Italian past of the Roman Empire, Renaissance and Risorgimento to the colonial present in what Gabriele d’Annunzio termed Italy’s “quarta sponda,” the fourth shore, Africa. In the genesis of this paper a conversation with a South African friend threw up an interesting phrase: “Africa Time.” It refers to the slow pace at which things are done due to a relaxed attitude and inef- ficient systems. This phrase is a clear parallel to the notion of “Italian Time” that I was told about before my first visit to Italy. On the level of quantitative scientific clock time, Italy may only share a time zone with about a third of the African continent, but with regards to a subjective temporality they may share a lot more.
    [Show full text]
  • Eye and Irony in the Art of David Bradley
    Journal of Fine Arts Volume 1, Issue 4, 2018, PP 1-12 ISSN 2637-5885 Exhibited Indians: Eye and Irony in the Art of David Bradley A. Robert Lee Professor (retired) Department of English, Nihon University, Tokyo *Corresponding Author: A. Robert Lee, Professor (retired) Department of English, Nihon University, Tokyo ABSTRACT Like all strong visual artists the Native American painter David Bradley has been nothing if not his own stylist, his work a genuine force of invention. Whether rich muralist-narrative pieces given over satirizing the ideology of Manifest Destiny or the commercialization of the “Indian” in film and media, there can be no missing the assured irony, the tease both serious and less than serious. That derives from Bradley’s fierce commitment to issues of Native redress across a span of politics, art, sovereignty, and image. It also reflects his White Earth Earth/Chippewa origins in Minnesota and Peace Core years in indigenous Guatemala, not to mention his take on what it means to live as a contemporary Native American. The essay explores vivid muralist pieces like “Pow-Wow Princess in the Process of Acculturation,”“Pictures at an Exhibition, “How the West Was Lost,” or “Route 66 Postcard.” This Insistence upon Bradley’s unique styling is also to recognize inter-creative visual traces -- be it Diego Rivera or Fritz Scholder, Fernando Botero or Andy Warhol. The essay argues for Bradley’s rare command, the wit of his eye and vision. Keywords: Native American, Irony, Image, Humor, Collage, Style, Visual I do use repeatedly certain symbols which you underwriting in a fierce commitment to issues of could call popular cultural iconography like the Native redress.
    [Show full text]