Architecture in journals of the ‘avant~garde’. Part 2

1984 ◽  
Vol 9 (2) ◽  
pp. 40-65
Author(s):  
Isabella Pezzini ◽  
Jacques Gubler

A selection of ‘avant-garde’ journals, from the early 20th century onwards, which have included architectural material. The journals are grouped into countries (which appear in alphabetical order), and are then arranged chronologically by date first published. Part 2 covers journals from the Netherlands, Poland, Romania, Spain, Switzerland, U.S.A., U.S.S.R. and Yugoslavia. Part 1 appeared in Art Libraries Journal, vol. 9, no. 1, Spring 1984. The journals are described by a number of contributors denoted by their initials: A3. (Antoine Baudin); A.R.G. (Antoni Ramon Graells); J.G. (Jacques Gubler); M.D.G. (Manolo De Giorgi); I.P. (Isabella Pezzini); P.G.T. (Piero G. Tanca).The article is the translation of a survey ‘La rete delle riviste’ which first appeared in Rassegna, no. 12, December 1982 – a special issue entitled ‘Architettura nelle riviste d’avanguardia’.

1984 ◽  
Vol 9 (1) ◽  
pp. 3-43 ◽  
Author(s):  
Isabella Pezzini ◽  
Jacques Gubler

A selection of ‘avant-garde’ journals, from the early 20th century onwards, which have included architectural material. The journals are grouped into countries (which appear in alphabetical order), and are then arranged chronologically by date first published. Part 1 covers journals from Argentina, Austria, Belgium, Czechoslovakia, France, Germany, Great Britain, Hungary and Italy. The journals are described by a number of contributors denoted by their initials: A.B. (Antoine Baudin); J.G. (Jacques Gubler); M.D.G. (Manolo De Giorgi); B.H. (Brian Henson); I.P. (Isabella Pezzini); F.R. (Franco Raggi); P.G.T. (Piero G. Tanca).The article is the translation of a survey ‘La rete delle riviste’ which first appeared in Rassegna, no. 12, December 1982 - a special issue entitled ‘Architettura nelle riviste d’avanguardia’.


Author(s):  
Maya Bielinski

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.


Author(s):  
Kunto Sofianto ◽  
Amos Sukamto ◽  
Agus Manon Yuniadi ◽  
Agus Nero Sofyan

Based on a widely accepted view, the spread of Christianity in Indonesia was backed up by Dutch intervention. This article argues that the assumption is not entirely right. In some regions, the Dutch colonial and European settlers paid little attention to Christian missions. Garut, for example, was a city in the Priangan Residence that served as an economic center for the Dutch. Islamic influence was very strong in Garut. Therefore, when the NZV reached Garut in 1899, it received no support from the Dutch colonial administration. The effort to spread Protestant Christianity was initiated by the Chinese people. The strong Islamic influence in Garut became the main barrier preventing people's conversion to Christianity. Even though at the beginning of the 20th century there was no direct resistance, but secretly the Islamic leaders fought back by building negative perceptions of both the Netherlands and Christianity by labeling them as kafir and unclean.


Author(s):  
Annika Marie

Stuart Davis was a painter, printmaker, muralist, and arts activist who played a prominent role in the development of American modernism in the first half of the 20th century. Visually, he brought the formal and technical experimentation of the European avant-garde to depictions of the modernity of the American metropolis. As a prolific writer and powerful spokesman, Davis was a committed cultural advocate, working to explain and defend modern abstract art, promoting artists’ rights, and arguing for the democratization of culture and art’s formative impact on society. Davis’s early style relates to the Ashcan School, an early 20th-century brand of realism that combines a direct, spontaneous, journalistic naturalism with everyday scenes of urban street life. The turning point for the young Davis was the New York Armory Show of 1913. Through the exhibit Davis was exposed to Fauvism, Expressionism, Cubism, and Dada. However, Davis’s embrace of the formal rigor of European abstraction did not lead him to purely non-objective painting. Maintaining that form and content were equally important, he argued that European modernism’s visual fragmentation, instability, and simultaneity provided the visual means by which to express contemporary American urban life.


Collections ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 171-193
Author(s):  
Stephanie Becker

Throughout the early 20th century, A. Thomas Nelson took snapshots while traveling the United States and Canada. His wife, Catherine Nelson, made a selection of these and placed them within eight photographic albums, later acquired by the George Eastman Museum in Rochester, New York. Using one of these, “Snapshots from Travels in the United States and Canada (1904–1940),” as a case study, this article explores preservation practices for early 20th-century vernacular albums. While such albums are a valuable part of any collection, they present many complex preservation challenges due to the variety of materials contained within a single object. Critical questions about cataloging, digitizing, and rehousing methods guide decisions on how to stabilize the album's fragile condition and allow for access. This case study offers insight for collection managers and archivists who find themselves caring for similar snapshot albums.


2020 ◽  
Vol 2 (3) ◽  
pp. 450-452
Author(s):  
Luis L. Sánchez-Soto ◽  
Margarita A. Man’ko

The first quantum revolution started in the early 20th century and gave us new rules that govern physical reality [...]


2012 ◽  
Vol 3 (2) ◽  
Author(s):  
Steven Rathgeb Smith

AbstractAs the articles in this special issue demonstrate, the emergence of government-voluntary sector compacts around the world is intimately linked to comprehensive transformations the welfare state is undergoing in many countries. The fact that the first compact was developed in England is significant; since the early 20th century, the development of the welfare state in many societies has been significantly influenced by the ideas coming from policymakers, scholars and advocates in the United Kingdom.


2011 ◽  
Vol 65 (4) ◽  
pp. 307-320
Author(s):  
Klaran Visscher

This article addresses the case of Jozef Rulof, one of the representatives of new religious movements in the early 20th century in the Netherlands. Self-proclaimed prophet and medium in the service of the ‘Cosmic Masters from the Other Side’, he urged his contemporaries to welcome a new cosmic age that would give the initial impetus to the Kingdom of God on Earth - to be realised by humankind itself. In his thinking, strongly based upon the concepts of reincarnation and karma, the end of times refers to the ‘fading’ of the planet as a logical step in the evolutionary development of both humanity and universe.


1997 ◽  
Vol 12 (11) ◽  
pp. 2572-2578 ◽  
Author(s):  
L. J. Smits ◽  
F. W.A. van Poppel ◽  
J. A. Verduin ◽  
P. H. Jongbloet ◽  
H. Straatman ◽  
...  

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