From the Avant-Garde to “Proletarian Art”

Art Journal ◽  
1993 ◽  
Vol 52 (1) ◽  
pp. 34-45
Author(s):  
Oliver A. I. Botar
Keyword(s):  
Avant Garde ◽  
Proletarian Art

In Anxious Celebration: Lewis Hine's Men at Work

Prospects ◽  
1992 ◽  
Vol 17 ◽  
pp. 319-352 ◽  
Author(s):  
Susan Meyer
Keyword(s):  
Factory Worker ◽  
Revolutionary Movement ◽  
Avant Garde ◽  
Proletarian Art

In a letter to the radical periodical, the New Masses, in October of 1930, one reader requested more satire from the artists who published in its pages, art with “greater revolutionary purpose.” The drawings of an artist like Louis Lozowick, Vern Jessup complained, were suspiciously ambiguous: “In the New Masses they're proletarian art. What do you call them when they appear in the bourgeois business magazines, as they do?” Louis Lozowick, a Russian-American avant-garde painter and a contributing editor of the New Masses, rose immediately to the challenge. In a letter of response in the December, 1930 issue, entitled, “What Should Revolutionary Artists Do Now?” he noted that leftist artists and writers go to capitalist publications and galleries with the same regularity (and uncertainty) as workers go to shops and factories — and for the same reasons. One might ask a revolutionary artist to refuse all collaboration with capitalist institutions and starve to death with his revolutionary conscience immaculate. Or one might ask him to contribute to the revolutionary movement with whatever means at his command while conceding the inevitability (as we do in the case of the factory worker) of his working in capitalist institutions.

Murayama, Tomoyoshi (1901–1977)

2018 ◽  
Author(s):  
Diane Wei Lewis
Keyword(s):  
Popular Culture ◽  
Mixed Media ◽  
Active Member ◽  
Avant Garde ◽  
Founding Member ◽  
Theatre Production ◽  
Aesthetic Practice ◽  
Film Series ◽  
Preservation Law ◽  
Proletarian Art

Tomoyoshi Murayama was a multi-disciplinary Japanese artist associated with the interwar avant-garde and leftwing theater movements. After briefly attending Tokyo Imperial University, Murayama moved to Berlin in 1922, where he met Herwarth Walden and participated in The Great Futurist Exhibition at the Galerie Der Sturm. Upon returning to Japan, Murayama held his first solo exhibition in Tokyo in 1923, where he developed a theory of ‘conscious constructivism’ that called for the incorporation of everyday life into aesthetic practice. As the founding member and spokesman of the art collective Mavo, Murayama challenged prevailing notions of pure art—his mixed media assemblages included references to popular culture and industrial materials. In addition to his mixed media pieces, Murayama produced work across a range of media including children’s illustration, commercial design, theater, and film. Murayama’s theater affiliations included the Kokoro-za Theatre and the New Cooperative Theatre, and he designed the constructivist-style set for the Tsukiji Little Theatre production of From Morning Till Midnight (1924). An active member of proletarian art associations, Murayama was detained multiple times under the Peace Preservation Law, and was forced to renounce his political affiliations in 1933. In 1940, the New Cooperative Theatre and New Tsukiji Little Theatre were disbanded, and Murayama imprisoned. Following his sentence, Murayama spent the remainder of the war in Korea and Manchuria, returning to Japan after the war in 1945. His late novel Shinobi no mono (1960–1962) was adapted as a film series, play, and television program. Prior to his death, he completed a four-volume autobiography.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

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