Modernism (Art History)

Gemeentemuseum Den Haag: Mondriaan en De Stijl, nieuwe permanente tentoonstelling

by Tessel Bauduin

Bauduin, T.M. ‘Gemeentemuseum Den Haag: Mondriaan en De Stijl, nieuwe permanente tentoonstelling’. [exh.rev.] De Witte Raaf  26, 155 (2012): “Ondertussen” 8.

Soon also on dewitteraaf.be Soon also on dewitteraaf.be

Review of: Emmanuel Rubio, Towards a Cathartic Architecture

by Denis Bocquet

Published in: Il Giornale dell'arcbitettura, 104, April 2012, p.28

A review of: Vers une architecture cathartique (1945-2011) by Emmanuel Rubio, Paris, Donner Lieu, 2011, 325p.
more A review of: Vers une architecture cathartique (1945-2011) by Emmanuel Rubio, Paris, Donner Lieu, 2011, 325p.

Key words:

Frank Gehry, Michael Graves, James Wines, brutalism, World War II, Cold War, Hiroshima, Kenzo Tange, Arata Isozaki, Charles Moore, Ring, Vienna, Wien, Biedermaier, Coop Himmelb(l)au, Dresden, Berlin, Behnisch, Le Corbusier, London, brutalismo, brutalista, Eisenman, Foster, Giulio Romano, Mantova, Mantoue, teoria dell'architettura, architecture theory, théorie

O Teatro do Oprimido e o Espectador na Sociedade do Espetáculo de Guy Debord

by Hana Luzia

Orientação do Prof. Dr. Gentil Porto Filho / Grupo de estudo "Arte contra a Arte".

Este trabalho apresenta uma relação das proposições do teórico, dramaturgo e diretor teatral Augusto Boal, que se... more Este trabalho apresenta uma relação das proposições do teórico, dramaturgo e diretor teatral Augusto Boal, que se denominam Teatro do Oprimido, com os principais conceitos formulados no livro A Sociedade do Espetáculo, do escritor, cineasta e teórico libertário Guy Debord, no que concerne ao processo de supressão do espectador e integração do mesmo à vida em sociedade.

Palavras Chave: Espectador; Teatro do Oprimido; Guy Debord.
______________________________________________________

This article presents a connection between the theoretical propositions of the playwright and theatre director Augusto Boal, which are called Theatre of the Oppressed, and the main concepts expressed in the book The Society of the Spectacle of the writer, filmmaker and libertarian theorist Guy Debord, in terms of the process of removal of the spectator and its integration to life in society.

Keywords: Spectator; Theatre of The Oppressed; Guy Debord.

Lovechild: Stieglitz, O'Keeffe, and the Birth of American Modernism

by Camara Holloway

Entre la tradición y la modernidad Teófilo Castillo y la arquitectura en Lima de principios del siglo XX, Lima, Revista de Colegio de Arquitectos del Perú, 2006, pp. 70-75.

by Fernando Villegas

The cultural context of contemporary graphic design

by Inge Economou

Published In:
2003, South African Journal of Art History. No. 18, pp. 15–27.

Graphic design in the contemporary era (postmodernity) seems to be in a state of diversity and pluralism as designers... more Graphic design in the contemporary era (postmodernity) seems to be in a state of diversity and pluralism as designers produce work without any unifying stylistic or theoretical principles. Although designers frequently draw inspiration from stylistic and attitudinal trends at a street culture level in order to produce designs that have market appeal (to economic ends), seldom do they take the time to analyse contemporary culture at a theoretical level. As a result contemporary graphic designs often emerge as empty consumerist styling that celebrates the "postmodern moment" in contemporary culture, or alternatively as a rational, simplified, objectively planned approach that resists the status quo in favour of earlier modernist approaches. This essay, as a theoretical investigation of contemporary culture, attempts to contextualize graphic design within this culture, by analysing its main features and characteristics as highlighted by leading cultural theorists. This is done in order to encourage graphic designers to become more self-aware and to reflect critically on the work that they produce.

“Carlos Sáenz de Tejada, artista escenógrafo”, Goya, 337 (2011)

by Idoia Murga-Castro

Madrid, octubre-diciembre de 2011, pp. 324-341. ISSN: 0017-2715.

Este artículo analiza la producción escenográfica del dibujante y pintor Carlos Sáenz de Tejada (1897-1958). Esta obra... more Este artículo analiza la producción escenográfica del dibujante y pintor Carlos Sáenz de Tejada (1897-1958). Esta obra se puede estructurar en tres etapas: la primera tiene lugar en el contexto de la vanguardia madrileña entre el final de los años diez y 1926; la segunda transcurre durante su estancia en París entre 1926 y 1933, cuando colaboró con los Ballets Espagnols de Antonia Mercé “La Argentina”; y la tercera se desarrolla entre 1944 y 1957, tras su vuelta a los escenarios durante la posguerra española.

Neo-Trans-Pós-Modernismo

by Rudesindo Soutelo

Published in As Artes entre as Letras (Porto), nº 62, 16-XI-2011, pp. 10-11

Curriculum Vitae

by Cathrin Gordon

"An Examination of Édouard Manet's 'La Ninfa Sorprendida' and its 1914 Acquisition by the Argentine Republic"

by Cathrin Gordon

Engaged in original archival research, translations of works from Spanish and French, and interviews with respected art historians and curatorial staff, I discovered the profound similitude between the acquisition of 'La Ninfa Sorprendida', and the conception of Argentina’s nationalism. As a secondary theme, I strove to substantiate the exceptional nature of this composition, as a primary and overlooked early nude in Édouard Manet's oeuvre.

Initial research sought to reconcile the illusory position of 'La Ninfa Sorprendida' in the historiography concerning... more Initial research sought to reconcile the illusory position of 'La Ninfa Sorprendida' in the historiography concerning Manet. This question evolved to embody even greater implications when my visit to Buenos Aires demonstrated just how critical this work remained as a national possession, representative, as if in an allegorical manner, of the nation’s identity and virtue. This central dichotomy directed my argument, later comprising the major themes of my thesis.

I connected the 1914 acquisition of 'La Nymphe Surprise' or 'La Ninfa Sorprendida', with aspirations to model the republic after France, the cultural beacon at the fin de siècle, in hopes of becoming a contender in the modern international market. On one hand, Manet's 'Ninfa' symbolized virtues championed by the elite; on the other this composition embodied la nueva tradición for the developing avant-gardes, whose manifestation rooted itself in a mediated indigenous and European identity. Simultaneously, France insisted on maintaining its status of cultural superiority, therefore perceiving expansion of its frontier into Argentina as a necessary means to reinforce its distinction, while providing the promise of “civilization.” A second theme of my thesis suggested that 'La Ninfa Sorprendida' represented the primary nude attempted in an independent style, prefiguring 'Le Déjeuner sur l'herbe and Olympia. Ultimately, I argued that this composition proved instrumental in the development of a nation’s modern identity, and an artist's modernism.

Uroskie - Futurist Film & Photography

by Andrew Uroskie

Chronophotography and Cinematography to Photodynamism and Chromatic Music: Bergson’s Critique of Photography and the Futurist Birth of the Cinematic Avant-Garde

Modernism in our Time: Review of Roger Griffin's 'Fascism and Modernism' (London: Palgrave Macmillan, 2007)

by Catherine Brown

Published in 'Essays in Criticism', 60 (2010), 189-96

Griffin argues that modernism has hitherto been too narrowly conceived – as an aesthetic but not a social phenomenon,... more Griffin argues that modernism has hitherto been too narrowly conceived – as an aesthetic but not a social phenomenon, and as overwhelmingly connected to the left wing. The second point is not wholly dependent on the first; there are, Griffin contends, many more right-wing works of aesthetic modernism than have previously been recognised. Italian fascism and Nazism embraced aesthetic modernism to a significant degree, and were politically modernist in their desire to achieve national rebirth through social acts of creative destruction. Griffin at times pushes at an open door. His main area of interest is neither literature nor Britain (he concentrates on plastic art, Germany, and Italy); readers approaching his book from an English-literary perspective are unlikely to assume that modernism is predominantly a leftist phenomenon. His prose is sadly jargon-encumbered. But his conclusion - considering the respects in which we today are 'modernist' (and in which the state of Israel is the sole surviving state based in late-nineteenth century racial ideology) - is lively.

Painting after Gertrude Stein

by Karin Cope

Claude Cahun

by Tessel Bauduin

Forthcoming! Bauduin, T.M. ‘Claude Cahun’. [exh.rev.] Photography & Culture (2012).

Review of the exhibition 'Claude Cahun' at the Jeu de Paume, Paris. Review of the exhibition 'Claude Cahun' at the Jeu de Paume, Paris.

Van dada tot surrealisme: Joodse avant-garde kunstenaars uit Roemenie

by Tessel Bauduin

Bauduin, T.M. ‘Van dada tot surrealisme: Joodse avant-garde kunstenaars uit Roemenië’. [exh.rev.] De Witte Raaf: Ondertussen 26, 152 (Jul-Aug 2011). 6-7.

Review of the exhibition 'From dada to surrealism: Jeweish avant-garde artists from Romania', at the Jewish Historical... more Review of the exhibition 'From dada to surrealism: Jeweish avant-garde artists from Romania', at the Jewish Historical Museum Amsterdam.

Published as 'Brian Bourke's Dramatis Personae'

by Eimear O'Connor

Review published in the Irish Arts Review, Winter 2010.

Published as 'Brian Bourke's Dramatis Personae'

by Eimear O'Connor

Published in the Irish Arts Review, Winter 2010

Published as 'Brian Bourke's Dramatis Personae'

by Eimear O'Connor

Review published in the Irish Arts Review, Winter 2010.

"Kitsch Against Modernity"

by C. E. Emmer

published in Art Criticism 13:1 (1998): 53-80

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an... more "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb].

Tactility or Opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on the Art of Sculpture, 1956 [reprint]

by David Getsy

in R. Peabody, ed.,  _Anglo-American Exchange in Postwar Sculpture, 1945-75_ (Santa Monica, CA: J. Paul Getty Museum Online Publications, 2011). Reprint from _Sculpture Journal_ 17.2 (2008): 73-86.

Clement Greenberg’s animosity to Herbert Read’s art criticism manifested itself in his review of Read’s 1956 'The Art... more Clement Greenberg’s animosity to Herbert Read’s art criticism manifested itself in his review of Read’s 1956 'The Art of Sculpture'.  Focusing on this interchange and on the two critics’ priorities for modern sculpture, this article compares Read’s emphasis on touch and carving with Greenberg’s on sight and construction.  Both critics mobilized their theories of sculpture around artists who exemplified their views: for Read it was Henry Moore and for Greenberg David Smith.  I discuss the long-running debate between the critics and the ways in which nationalist aspirations underwrote their advocacy of these artists.