The Moment of Marcel Broodthaers? A Conversation

October ◽  
2016 ◽  
Vol 155 ◽  
pp. 111-150
Author(s):  
Manuel Borja-Villel ◽  
Benjamin H. D. Buchloh ◽  
Christophe Cherix ◽  
Rachel Haidu ◽  
Rosalind Krauss ◽  
...  
Keyword(s):  
New York ◽  
Conceptual Art ◽  
Museum Of Modern Art ◽  
Artistic Development ◽  
Cultural Institutions ◽  
The Status ◽  
Historical Role ◽  
Ambivalent Relationship ◽  
The Moment

On the occasion of Marcel Broodthaers's first retrospective in New York at the Museum of Modern Art and forty years after his death in 1976, October presents a roundtable discussion on the Belgian artist's career and legacy. Exhibition curators Christophe Cherix and Manuel Borja-Villel join Benjamin H. D. Buchloh, Rachel Haidu, Rosalind Krauss, and Trevor Stark for a conversation on Broodthaers's work, his artistic development, and his reception. Topics include the indeterminacy between language and visuality; the status of film in his work; his meditations on the commodity, the art market, and the historical role of cultural institutions; his ambivalent relationship with Pop, Minimalism, and Conceptual Art; and national identity and decolonization.

Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers
Keyword(s):  
New York ◽  
Modern Art ◽  
Modern Architecture ◽  
Museum Of Modern Art ◽  
Multiple Sequence ◽  
Sequence Of Events ◽  
The World ◽  
The Usa ◽  
New Yorkers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.

Eat yourself fitter: John Latham and Clement Greenberg’s Art and Culture

2000 ◽  
Vol 25 (2) ◽  
pp. 40-44
Author(s):  
Simon Ford
Keyword(s):  
New York ◽  
Modern Art ◽  
Conceptual Art ◽  
Suitable Condition ◽  
Museum Of Modern Art ◽  
Art And Culture ◽  
History Of

In 1966 John Latham and some friends began chewing Clement Greenberg’s book Art and culture: collected essays. The resulting art work, entitled Art and Culture (1966-1969), is now recognised as a seminal conceptual art work and is part of the collection of the Museum of Modern Art, New York. Latham, however, had borrowed the book from St. Martin’s School of Art library and when he was unable to return it in a suitable condition his teaching contract was not renewed. This essay looks at the history of the work, the ideas behind its creation, and the issues it raises for the culture of the book today.

Italy on Fifth Ave: From the Museum of Modern Art to the Olivetti Showroom

Modern Italy ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 103-122 ◽  
Author(s):  
Jim Carter
Keyword(s):  
New York ◽  
Comparative Analysis ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art World ◽  
Corporate Marketing ◽  
Cultural Legitimacy ◽  
The Moment

The 1952 MoMA exhibitionOlivetti: Design in Industryhas come to mark the moment when the established art world recognized the cultural legitimacy of mass-produced goods. This article contests such an interpretation by showing how the exhibition was organised and paid for by the Olivetti company. This enables a comparative analysis of the MoMA exhibition with a second New York space, the Olivetti showroom. Located on Fifth Ave, less than a half kilometre from the museum, the Olivetti showroom sold the company’s products to the same American public. The article concludes that the MoMA exhibition and the New York Olivetti showroom must be understood together as a clever case of corporate marketing.

Pediatricians as Child Health Advocates: The Role of Advocacy Education

2020 ◽  
Vol 22 (1) ◽  
pp. 13-17
Author(s):  
Nancy A. Dodson ◽  
Hina J. Talib ◽  
Qi Gao ◽  
Jaeun Choi ◽  
Susan M. Coupey
Keyword(s):  
New York ◽  
Child Health ◽  
Training Programs ◽  
Fellowship Training ◽  
Health Advocacy ◽  
Pediatric Residency ◽  
History Of ◽  
Historical Role ◽  
High Effort

In this article, we discuss the role of formal advocacy education with high-effort advocacy activities among pediatricians. We discuss the historical role of advocacy in the field of pediatrics and the changing role of advocacy education in pediatric training programs. We describe our survey of pediatricians in New York, in which we asked about a history of formal child health advocacy education, current high- and low-effort advocacy activities, perceived barriers to advocacy work, and child health advocacy issues of interest. Our findings demonstrate an association between a history of formal child health advocacy education and recent participation in high-effort advocacy activities on behalf of children’s health. We also found that practicing pediatricians were more likely to participate in high-effort advocacy work than individuals still in pediatric residency training. Our findings imply that education in child health advocacy should be considered an important part of pediatric training. Advocacy education should not only be included in residency and fellowship training programs but also made available as part of continuing medical education for pediatricians. Time for professional advocacy work should be allotted and encouraged.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

Jewish Anxiety in “Days of Judgement:” Community Conflict, Antisemitism, and the God of Vengeance Obscenity Case

1999 ◽  
Vol 40 (1) ◽  
pp. 51-74 ◽  
Author(s):  
Harley Erdman
Keyword(s):  
New York ◽  
Language Production ◽  
English Language ◽  
Symbolic Boundaries ◽  
Third Language ◽  
Community Conflict ◽  
The Moment

On February 19, 1923, a production of Sholem Asch's God of Vengeance (Got fun Nekome) opened at New York's Apollo Theatre on 219 West 42nd Street. The moment was auspicious for Jewish theatre in America. One of the more frequently produced and most critically acclaimed plays in the Yiddish canon, God of Vengeance had been performed internationally since its debut in 1907, not only in Yiddish, but in German, Italian, and Russian as well. However, it had never before been seen in English in New York at a major uptown venue like the Apollo. Coming off a two month run at two smaller downtown venues, where it had played to increasingly large and enthusiastic crowds, the English-language production seemed poised to “cross over” from the downtown margins to the Broadway mainstream, something which had never before occurred with any play from the Yiddish repertory. Moreover, the production represented the English-language stage debut of the celebrated Yiddish actor Rudolf Schildkraut in the commanding role of Yekel Tchaftchovitch. In other words, the event implicitly posed the question of whether there was a place for a “great” Yiddish play (albeit, in translation) starring a “great” Yiddish actor (admittedly, working in his third language) within the geographic and symbolic boundaries of Broadway.

Historical Geography of the Sinai Peninsula and its impact in the regional and international milieu: الجُغرافيا التَّاريخيَّةُ لشِبهِ جِزيرةِ سَيناء وتَأثيرُها فِي الوَسطيْن الإقليميِّ والدَوْلي

2020 ◽  
Vol 4 (3) ◽  
Author(s):  
Yasmin Kamel Salim Bin Saleh
Keyword(s):  
Historical Geography ◽  
Geographical Location ◽  
Economic Resources ◽  
Sinai Peninsula ◽  
First Line ◽  
The Status ◽  
Political Borders ◽  
Historical Role ◽  
Shed Light

The research aimed to shed light on the Sinai peninsula and its importance throughout the ages, and its impact on the regional and international circles, and to reveal the manifestations of strength that lie behind the geographical location and historical role of Sinai. The study relied on the historical inductive approach, in addition to analyzing and evaluating the writings on the Sinai, with a view to arriving at general rulings on the strategic importance of the Sinai Peninsula through the ages. Geographic information systems. The research is based on a study of the historical geography of the Sinai Peninsula, its impact on the regional and international circles, and the revelation of the manifestations of strength that underlie Sinai's geographical location and historical role. The study also dealt with the natural, human and economic ingredients that the Sinai Peninsula played a major role in its impact, as well as the study of the political borders and problems of Sinai, the extent of its impact on the Palestinian and Israeli sides, and the status of the Sinai Peninsula. The most important results:  It became clear through the study the importance of the geographical location of the Sinai Peninsula, and the natural and human constituents helped to reinforce this importance, in addition to the strategic depth that it enjoys, as well as the area of ​​the peninsula that is not commensurate with the population, which led to the resettlement of the population by a state Arab Egypt, to be its first line of defense. The study recommended the necessity of accelerating the comprehensive and sustainable development of the Sinai Peninsula, and investing economic resources.

Baudrillard and the Bauhaus: The Political Economy of Design

Design Issues ◽  
2016 ◽  
Vol 32 (3) ◽  
pp. 55-66 ◽  
Author(s):  
Matthew Holt
Keyword(s):  
New York ◽  
Political Economy ◽  
Industrial Revolution ◽  
The Political ◽  
Significant Development ◽  
Art And Technology ◽  
Artificial Environment ◽  
The Moment ◽  
Anglophone World

Though better known in the Anglophone world as the guru of postmodern “hyperreality”, the French philosopher and radical sociologist Jean Baudrillard devoted a great deal of attention to theorizing design. This paper singles out the moment—inspired by a conference he attended in 1972 in New York at MoMA—where he advances the argument that contemporary design, understood as articulating and incorporating the entirety of the artificial environment, is a direct manifestation of the most significant development in political economy since the industrial revolution—what Baudrillard calls the “political economy of the sign.” According to Baudrillard the origin of this expanded sense of design is the Bauhaus. That school sought to extend the role and mission of design to all fabricated phenomena, in the process collapsing any distinction between objects (and environments), turning them all into a fusion of art and technology, aesthetics and functionality. In explicating Baudrillard's argument, this paper also traces the missing presence of design in traditional political economy, arguing that Baudrillard was one of the first authors, albeit critically, to identify the now essential role of design in postindustrial capitalism.

Defamiliarizing the popular image of the bible in some contemporary rewritings in english

2018 ◽  
Vol 47 (1) ◽  
pp. 1-20
Author(s):  
Ewa Rychter
Keyword(s):  
Social Order ◽  
Religious Beliefs ◽  
Biblical Text ◽  
The Bible ◽  
The Status ◽  
Ancient Times ◽  
The Moment ◽  
Popular Image ◽  
Fervent Believer

Abstract This paper focuses on the ways some recent British and Irish rewritings of the Bible estrange what has become the publicly accepted and dominant image of the biblical text. Recently, the Bible has been given the status of “home scripture” (Sherwood, Yvonne. 2012. Biblical Blaspheming: Trials of the Sacred for a Secular Age. Cambridge: CUP) and become a domesticated and conservative text, a rather placid cultural/literary monument, an important foundation of democracy, a venerable religious document judged more tolerant and liberal than other scriptures. Though the Bible used to be perceived as an explosive text, peppered with potentially offensive passages, today its enmity is neutralised either by linking the Bible with ancient times or by relating it to people’s religious beliefs and by entrenching its more scandalous parts within the discourse of tolerance. It is such an anodyne image of the Bible that the biblical rewritings of Roberts, Winterson, Barnes, Crace, Pullman, Tóibin, Alderman, Diski defamiliarize. By showing biblical events through the eyes of various non-standard focalizers, those novels disrupt the formulaic patterns of the contemporary perception of the Bible. It is through these strange perspectives that we observe the critical moment when the overall meaning and the role of the biblical text is established and the biblical story is actually written down. Importantly, it is also the moment when somebody moulds the scripture according to their ideas and glosses over all the complexities, violence and immorality related to the events the biblical text describes. Also, contemporary biblical rewritings defamiliarize the currently popular image of the Bible – that of a whitewashed text which inculcates morality, conserves social order and teaches love and tolerance, by employing images of disintegration, dirt and contagion as well as by constructing a figure of a fervent believer in the Bible and its ideas.

scholarly journals Refugees, Development, Debt, Austerity: A Selected History

2018 ◽  
Vol 6 (1) ◽  
pp. 26-60 ◽  
Author(s):  
Leah Zamore
Keyword(s):  
Development Assistance ◽  
Status Quo ◽  
Forced Displacement ◽  
Short Term ◽  
Development Policies ◽  
The Status ◽  
Historical Role ◽  
Laissez Faire

There is a consensus among global policymakers that the challenges facing refugees today arise, in no small part, from the treatment of forced displacement as predominately a short-term humanitarian problem and the consequent exclusion of refugees from long-term development assistance. This paper agrees that refugees — a majority of whom spend years, a large number decades, some lifetimes in exile — constitute a development challenge, not only a humanitarian one. But it departs from the prevailing consensus which has tended to underemphasize the historical role of certain development policies in contributing to the status quo of refugee poverty in the first place. The paper places particular emphasis in that regard on policies of austerity and of laissez-faire. In their stead, it argues in favor of approaches to development that are proactively egalitarian and redistributive.

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