Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

Britannia on Roman coins of the second century A.D.

1924 ◽  
Vol 14 (1-2) ◽  
pp. 142-157
Author(s):  
Jocelyn Toynbee
Keyword(s):  
Second Century ◽  
Ancient World ◽  
The Other ◽  
Accurate Representation ◽  
Roman Coins ◽  
Greek Revival ◽  
History Of Art ◽  
Greek Tradition ◽  
History Of ◽  
The One

The history of art in the Roman period is the history of the interplay of two opposite tendencies. On the one hand there is the Roman taste for realism and accurate representation, combining with the Italian love of naturalism; on the other, the fostering of the Greek tradition of idealism in art both by the Greek artists who worked at Rome and by the Greek enthusiasts among their Roman employers. After the culmination of Roman historical art under the Flavians and Trajan, the second century, as is well known, was marked by a great reaction in favour of things Hellenic, and it is with one small part of the Greek revival under Hadrian and the Antonines, when Greek art blossomed afresh for the last time during the history of the ancient world, that I propose to deal in this paper.

From Work to Therapy: The Changing Politics of Occupation in the Twentieth Century

1993 ◽  
Vol 56 (10) ◽  
pp. 360-364 ◽  
Author(s):  
Mark Jackson
Keyword(s):  
Twentieth Century ◽  
Learning Disabilities ◽  
Occupational Therapy ◽  
Learning Difficulties ◽  
Occupational Therapists ◽  
The Other ◽  
Professional Expertise ◽  
Economic Forces ◽  
History Of ◽  
The One

Historically, there have been strong links between the establishment and maintenance of health through occupation, on the one hand, and broad sociopolitical and economic forces, on the other. As a result, occupational therapists have consistently contributed to, and been influenced by, prevalent attitudes to work, leisure, unemployment and poverty. This article examines the nature of these Interactions between occupational therapy and society, by exploring some of the continuities and discontinuities in the practice of occupational therapy within the history of a particular institution established in 1902 for children and adults with what are now referred to as ‘learning difficulties’ or ‘learning disabilities’. The article argues that it is the strength of the ideological and pragmatic links between therapy, health and work, rather than a reliance on rigid biomedical explanations of disease, that has traditionally constituted the basis for the professional expertise of occupational therapists.

scholarly journals Every Text is a Performance: A Pre-History of Performance Philosophy

2015 ◽  
Vol 1 (1) ◽  
pp. 24 ◽  
Author(s):  
David Kornhaber
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Dramatic Literature ◽  
Partial Model ◽  
Boundary Points ◽  
Other Hand ◽  
Theatrical Performance ◽  
Textual Authority ◽  
History Of ◽  
The One

This article traces a genealogy of performance philosophy along two separate lines within the history of the twentieth-century academy.  On the one hand, it locates within the long history of philosophically-informed studies of dramatic literature a partial model for the work of performance philosophy, one that applied philosophical scrutiny to dramatic texts without ever extending the same consideration to theatrical performance—in spite of the practical theatrical work of many of this movement’s leading academic proponents.  On the other hand, it identifies in the poststructualist rethinking of textual authority an opening for the reconsideration of philosophical communication that returns performance to a place of philosophical potential that it has not securely held since before Plato’s dialogues.  It is argued that the intersection of these two trend lines in academic thought should be regarded as constituting an important intellectual genesis point for the emergence of performance philosophy and a useful means of approaching the purposes and boundary points of the field.

scholarly journals A Woman to Rule the World: Rome Personified in the Roman Republic

2021 ◽  
Author(s):  
◽  
Campbell Orchard
Keyword(s):  
Twentieth Century ◽  
Roman Empire ◽  
Roman Republic ◽  
The Other ◽  
Female Figure ◽  
Imperial Cult ◽  
National Representation ◽  
The World ◽  
History Of ◽  
The One

<p>Revitalised by Mussolini in the early twentieth century as a symbol of the ‘New Roman Empire’, Roma has endured a long history of national representation. Traditionally the figure of Roma is on the one side associated by historians with the Roman imperial cult and Augustus, and on the other by Numismatists as the helmeted female figure on the coinage of the Roman Republic. However, these figures are not presently considered one and the same. When describing this figure, Roma is considered a Greek innovation travelling west, which naturally discounts well over two centuries of Roman issued coinage. Roma inaugurated by Hadrian and previously manipulated by Augustus was not simply a Greek import, but a complex Roman idea, which, true to Roman form, incorporated native and foreign elements in shaping an outward looking signifier of Roman identity.</p>

Philosophies of Life

2019 ◽  
pp. 275-298
Author(s):  
Gavin Flood
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Seventeenth Century ◽  
Dynamic Process ◽  
The Other ◽  
Romantic Poetry ◽  
Theological Discourse ◽  
Life Itself ◽  
History Of ◽  
The One

On the one hand, we have the development of science from the seventeenth to nineteenth century, while on the other, we have a focus on life in philosophy at the dawn of the nineteenth century. Here, life is understood in terms of nature as a dynamic process linked to impulse or drive. Partly stemming from a mystical discourse in the seventeenth century, the concern for life comes to be disseminated through the history of both Romantic poetry and Romantic philosophy. This vitalist spirit can be traced through to the twentieth century. Life itself comes to be articulated through a mystical theological discourse that ends in Romantic poetry and through a philosophical discourse that ends in phenomenology.

Habsburg Histories of Internationalism

2020 ◽  
pp. 17-36
Author(s):  
Glenda Sluga
Keyword(s):  
Twentieth Century ◽  
League Of Nations ◽  
The Other ◽  
The Political ◽  
World War ◽  
Habsburg Empire ◽  
Economic Significance ◽  
History Of ◽  
The One ◽  
First World

This chapter explores points of ideological and institutional intersection in the Habsburg and Austrian past in the context of a new historiography of internationalism and studies of the League of Nations. Drawing from the expanding historiography of international ideas and institutions, on the one hand, and the uncollected evidence of people and politics of the Habsburg empire-cum-Austrian republic, on the other, its intention is to gauge the political, cultural, and economic significance of strands of the ‘new internationalism’ in the history of the Habsburg empire, and its afterlife. This is nowhere more obvious than in the persistent invocations, through the first half of the twentieth century, of the affinities between the post-First World War history of internationalism and Austria’s prewar experience with diversity and multi-nationality, and the persistent political and cultural ambitions attached to the specific idea of Weltösterreich.

Ministers and Nahdawi Masculinity: The Beirut Church Controversy

2019 ◽  
pp. 213-273
Author(s):  
Deanna Ferree Womack
Keyword(s):  
Twentieth Century ◽  
Turn Of The Century ◽  
The Other ◽  
Multiple Forms ◽  
Evangelical Church ◽  
Men And Women ◽  
Printed Media ◽  
History Of ◽  
Late Nineteenth ◽  
The One

The gendered dimensions of institutional Protestantism and the rough edges of missionary authority come to the forefront in chapter 4, which considers the various printed media that Syrian Protestant men employed to assert their masculinity and claim independence from male missionary authority. Tracing the history of the Syrian Evangelical Church of Beirut and its connection to the Nahda, this chapter uses an anti-missionary publication from the turn of the century to examine the asymmetrical relationship between (male) Presbyterian missionaries and Syrian pastors on the one hand, and between Protestant men and women in Syria on the other. Multiple forms of patriarchy operated in late nineteenth- and early twentieth-century Beirut during church controversies involving missionary Henry Harris Jessup and the prominent Syrian Protestant Khail Sarkis.

La tv come casa dell’arte. Sperimentazioni e utopie

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Silvia Bordini
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Double Point ◽  
Point Of View ◽  
The Other ◽  
Audiovisual Communication ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
Short Essay

The involvement of art in tv devices is examined from a double point of view: on the one hand, the use of tv as a divulgation tool that compares the history of art, entertainment and spectacularization; and on the other, the interpretation of tv as a tool for artistic experimentation. The hypothesis of a cultural use of the potential of audiovisual communication is elaborated in particular by numerous art historians, with different initiatives that reflect the variants of the very notion of art history and art criticism. The hypothesis of TV as a possible tool for making art according to unprecedented linguistic modulations starts from Lucio Fontana in the context of spatialist theories and then develops autonomously in the specific of new technological languages: the programs, the devices and the physicality of the television itself were in fact the first "material" that the artists used to elaborate what went down in history as "videoart". In the paths outlined in this short essay, television has taken on the significance of a strongly symbolic medium, in the alternation of different and often contrasting messages and models, linked to a variety of cultural and ideological positions.

Jessie Fauset’s Not-So-New Negro Womanhood

2018 ◽  
pp. 222-247
Author(s):  
Meredith L. Goldsmith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Other ◽  
Late Nineteenth Century ◽  
New Negro ◽  
Jessie Fauset ◽  
History Of ◽  
Late Nineteenth ◽  
The One ◽  
Other Regarding

Chapter 8 responds to two prevailing arguments about the fiction of Jessie Fauset—the one labeling her work retrograde, the other regarding it as subtly subversive—by viewing the writer’s work as part of a history of long nineteenth-century representation. Countering the dominant perception of the Harlem Renaissance as a break from the past—a view that has shunted Fauset’s work to the sidelines—the essay argues that Fauset’s work explores the legacy of late-nineteenth-century US culture in the emergent modernity of the early twentieth century. Excavating the literary, cultural, and scientific tropes of feminine representation that burst from the pages of Fauset’s fiction, the essay identifies a recent literary past that informs Fauset’s constructions of her modern urban heroines.

The symptomatology of a surpassing disaster: Narrativization and temporality in the work of Walid Raad

Maska ◽  
2020 ◽  
Vol 35 (200) ◽  
pp. 84-101
Author(s):  
Kaja Kraner
Keyword(s):  
Standard Treatment ◽  
Arab World ◽  
The Other ◽  
Historical Documents ◽  
American Artist ◽  
History Of Art ◽  
Common Thread ◽  
History Of ◽  
The Common ◽  
The One

Since the 1990s, the common thread to artistic practices based on the collection, archiving and presentation of historical documents can be derived from what is happening with the space, time and the regimes of visibility and knowledge as part of digital reproductivity. Nevertheless, roughly two separate key approaches can be identified: construction approaches that are often designed as an intervention in the dominant historiographical practice, on the one hand, and approaches focusing on the study of infrastructural, epistemological and other conditions for the possibility of archiving and historicization in general, on the other. The latter approaches frequently question the standard treatment of documents that is most often based on the ability to trace their origin as well as on their presumptive expressive and narrative potentials. The article therefore analyses the approach to studying history adopted by Lebanese-American artist Walid Raad, drawing from the performance-lecture Les Louvres and/or Kicking the Dead, which is part of a broader project about “a history of art in the Arab world”. In the process of defining the specifics of Raad’s approach based on the concepts of “spaces of interrupted histories” and “self-historicization”, the article draws a comparison between artistic uses of documents in the context of former socialist countries and the Middle East or, more specifically, the Lebanese socio-political context. Instead of unifying both “spaces of interrupted histories” by focusing on narrativization and temporality in Raad’s work, I concentrate mostly on the differences.

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