scholarly journals Lucia Moholy's Idle Hands

October ◽  
2020 ◽  
Vol 172 ◽  
pp. 68-108
Author(s):  
Jordan Troeller
Keyword(s):  
Domestic Labor ◽  
Radical Pedagogy ◽  
Avant Garde ◽  
Artistic Value ◽  
Bodily Movement ◽  
Women And Children ◽  
New Vision

At the time that she was affiliated with the Bauhaus, Lucia Moholy took a series of photographs at the nearby feminist commune of Schwarze Erde (also known as Schwarzerden), which was founded in 1923 by the poet Marie Buchhold and the pedagogue Elisabeth Vogler (and counted among its members Tilla Winz and Ilse Hoeborn). These photographs focus our attention on androgynous hands engaged in prosaic domestic tasks, as well as on the bodies of women and children involved in the commune's radical pedagogy of renewed bodily movement. The centrality of these images in Schwarzerden's publicity materials, along with their subsequent service as models for future photographs (most notably by Ruth Hallensleben), stands in contrast to the lack of appreciation Moholy received for performing similarly domestic labor for her male peers at the Bauhaus, including, above all, her husband, László Moholy-Nagy. By tracing the various ways in which idleness unfolds as a pictorial equivalent of housework, I argue that these images amount to a critique of an avant-garde photographic discourse that privileged “originality” and “production” over “documentation” and “reproduction.” Reading the photographs against the intention of their maker, who herself dismissed their “artistic value,” I propose that in mounting a challenge to artistic authorship, such images render visible the gendered contradictions of New Vision photography.

Goleizovsky (Goleizovskii), Kas’ian Yaroslavich (1892–1970)

2018 ◽  
Author(s):  
Nicoletta Misler
Keyword(s):  
Early Childhood ◽  
Emotional Expression ◽  
Mutual Understanding ◽  
Sergei Prokofiev ◽  
Visual Artists ◽  
Avant Garde ◽  
Bodily Movement ◽  
Visual Rhythm ◽  
Music Lessons ◽  
Bolshoi Ballet

A Russo-Soviet choreographer, dancer, and artist, Kas’ian Goleizovsky was exposed to various art forms from early childhood: dance at the Bolshoi ballet school; fine and applied arts at Moscow’s Stroganov Institute; and music lessons with the celebrated violinist David Krein. This broad education enabled him to perceive dance in terms of line and color, to integrate costume and choreography, and to infuse visual rhythm, emotional expression, bodily movement, and musicality into his artistic explorations. His collaborations with avant-garde visual artists such as Petr Galadzhev, Anatolii Petritsky, and Boris Erdman, and with composers such as Boris Ber, Matvei Blanter, and Sergei Prokofiev were always distinguished by strong mutual understanding. A pre-postmodern choreographer, Goleizovsky moved among very different systems and types of dances, including classic, eccentric, variety, ballroom, and music hall.

scholarly journals L’essor d’une avant-garde picturale dans les années 1940 en Iran : premières galeries, associations et revues d’art

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Alice Bombardier
Keyword(s):  
General Public ◽  
Fine Arts ◽  
Young Generation ◽  
Avant Garde ◽  
New Vision ◽  
Art Activities ◽  
Public Exhibition

AbstractIn 1940s’ Iran, the first graduates in painting from the Fine Arts Faculty of the Tehran University distinguished themselves from their predecessors. They praised a new vision of art, activities of a new kind – such as the practice of public exhibitions – and new forms of organization. Initially, they used cultural centres of foreign embassies as springboards. Then, some of them founded – pioneering and still largely unknown – independent exhibition areas, as evidenced by the Apadana Gallery Club. Finally, they managed to establish themselves in public exhibition halls, like the Mehregan Club or even the Tehran Biennials of Painting. Nevertheless, until the late 1950s, the activities of this young generation of artists remained marginal and their creations, from the elite perspectives, were still perceived as strange. Indeed, at that time, these pioneers of a new style called “New Painting” in Iran fought to raise awareness among the general public and frequently faced financial troubles, scandals, trials and censorship. For them, the New Painting was the groundswell that had to make the whole society evolve, as emphasized by the large number of periodicals edited, especially by the Fighting Cock Art Society. This article relates the context and steps of this pioneering phase and highlights the profound transformation of Iranian society at the turn of the 1940s.

scholarly journals Первый и единственный в России частный музей флорентийской мозаики Б. и Л. Ошкуковых

2021 ◽  
pp. 104-117
Author(s):  
V.I. Prygov
Keyword(s):  
Art History ◽  
Interdisciplinary Approach ◽  
Separate Group ◽  
Museum Collection ◽  
Mineralogical Analysis ◽  
Avant Garde ◽  
Artistic Value ◽  
Stone Cutting ◽  
Regional Centers ◽  
Personal Collection

The article is devoted to the only private museum of Florentine mosaics in Russia by B. and L. Oshkukovs. The basis of its funds was the personal collection of the founders. It represents all the main forms of mosaics using: from easel decorative panels to inserts in jewelry. The museum's exposition reflects the achievements of all the major art centers of Florentine mosaics in Russia — the works of stone-cutting masters from Khabarovsk, Ufa, St. Petersburg, Moscow, etc. The greatest artistic value is represented by mosaic paintings made both according to well-known pictorial originals, and according to the authors’ sketches. The principal materials for such mosaics are jaspers and other types of hard stones. A separate group in the museum collection consists of mosaic panels made according to the projects of B.L. Oshkukov, inspired by the works of masters of the Russian Avant-garde. On the basis of an interdisciplinary approach, including an art history, cultural and mineralogical analysis of the works of stone-cutting art, the author identifies the features of the main regional centers and kinds of Florentine mosaics. Статья посвящена единственному в России частному музею флорентийской мозаики Б. и Л. Ошкуковых. В основу данного собрания была положена личная коллекция основателей, в которой представлены все основные формы использования мозаик: от станкового декоративного панно до вставок в ювелирные украшения. В экспозиции музея отражены достижения всех основных художественных центров флорентийской мозаики в России — работы мастеров-камнерезов Хабаровска, Уфы, Санкт-Петербурга, Москвы и других городов. Наибольшую художественную ценность представляют мозаичные картины, выполненные как по общеизвестным живописным оригиналам, так и по авторским эскизам из яшм и других видов твердых камней. Отдельную группу в музейном собрании составляют мозаичные панно, выполненные по проектам Б.Л. Ошкукова, вдохновленного работами мастеров русского авангарда. На основе междисциплинарного подхода, включающего искусствоведческий, культурологический и минералогический анализ произведений камнерезного искусства, автор выделяет особенности основных региональных центров и форм флорентийской мозаики.

Visual Music after Cage: Robert Breer, expanded cinema and Stockhausen's Originals (1964)

2012 ◽  
Vol 17 (2) ◽  
pp. 163-169
Author(s):  
Andrew V. Uroskie
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
New Materials ◽  
Avant Garde ◽  
Visual Music ◽  
Expanded Cinema ◽  
New Vision ◽  
The Aesthetic

Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage.

scholarly journals Nowe widzenie – astrologiczny i astronomiczny wymiar wizji fotograficznej

2018 ◽  
pp. 33-64
Author(s):  
Dorota Łuczak
Keyword(s):  
Twentieth Century ◽  
Human Perception ◽  
Philosophy Of History ◽  
Avant Garde ◽  
History Of ◽  
Ontological Foundation ◽  
New Vision ◽  
The Spectator ◽  
Cognition And Knowledge ◽  
Methodological Reflection

The paper focuses on the New Vision – one of the most important developments in the history of the twentieth-century photography, whose ambition was to modernize human perception, hence also society. A project with such an objective, characteristic of the avant-garde, required not only the use of photography as a tool of “ocularcentrism,” to use a term coined by Martin Jay, but also some more solid epistemological and ontological foundation. The author analyzes the project of the New Vision, introducing two interpretive contexts, i.e. astrology and astronomy, which are understood as specific paradigms of cognition and knowledge. First, both concepts are located in a more general discourse of the philosophy of history (Nietzsche, Benjamin), and second, they are related to the practice and theory of the New Vision and the idea of developing a new vision of reality, shown at the famous “Film und Foto” exhibition (Stuttgart, 1929). The basis of the present interpretation is methodological reflection on the ideologization of photography in the so-called revisionist studies which favor the critique of the apparatus of power. Instead, the author proposes a concept of photographic vision connecting the picture and the spectator or, in other words, calling for taking into consideration the process of reception. This proposal, close to Hans Belting’s anthropology of the image, renounces the idea of the passive spectator, subject to the picture, in favor of the analysis of its perception. In the context of the New Vision, the picture-spectator relationship has been approached in terms of astrology and astronomy.

Krull, Germaine (1897–1985)

2018 ◽  
Author(s):  
Jonathan Long
Keyword(s):  
World War Ii ◽  
Central Europe ◽  
Subject Matter ◽  
World War ◽  
Avant Garde ◽  
Lesbian Sexuality ◽  
New Vision ◽  
Street Photography ◽  
Studio Work

Germaine Krull was one of the major photographers of the interwar European avant-garde, producing work that was highly diverse in both subject matter and technique. Her most characteristic early images include nudes exploring lesbian sexuality and street scenes of Berlin. She is best known for Métal (1928), a portfolio that gathers together sixty-four industrial photographs taken in Holland, France, and Germany. Métal embodies a new kind of industrial aesthetic, in which concentration on decontextualized details and fragments rather than the entirety of machines and buildings seeks to highlight the beauty of modern industrial forms. Krull lived in Paris from 1926 to 1935, and played a major role in importing the avant-garde photographic techniques of Neues Sehen (New Vision) into France from Central Europe. Her French period is marked by studio work, pioneering photo-reportage, and street photography, the latter of which is partially collected in the book 100 x Paris (1929), in which conventional images of the metropolis are interspersed with street scenes employing avant-garde techniques. During World War II, Krull worked as coordinator of the Free French photographic service in Africa. After 1945, she lived largely in Thailand and India, and her later photographs document the lives of Tibetans in India.

The Study on the Application of Material Media in the Modern Decorative Art

2012 ◽  
Vol 535-537 ◽  
pp. 1673-1677
Author(s):  
Jian Wen Li
Keyword(s):  
Aesthetic Experience ◽  
Artistic Expression ◽  
Avant Garde ◽  
Decorative Art ◽  
Artistic Value ◽  
Historical Viewpoint ◽  
New Perspective

This paper interprets the function and effect of material media in decorative art. It explores the extension and development of material media in decorative art, from the historical viewpoint. It advances that modern decorative art must be investigated from the new perspective, that is, the view of integrated material is used to explore and study modern decorative art. This is based on the fact that art tends to be generally integrated. Under such circumstances, its artistic expression and avant-garde ideas tend to have a direct correlation with material media, analyzing from its artistic value and aesthetic experience. More importantly, its artistic essence is supposed to be interpreted from its abstractness and self-expression of space.

László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany

2004 ◽  
Vol 17 (4) ◽  
pp. 525-556 ◽  
Author(s):  
Oliver A. I. Botar
Keyword(s):  
Twentieth Century ◽  
Avant Garde ◽  
Weimar Germany ◽  
Early Twentieth Century ◽  
Art Photography ◽  
New Vision

ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)

AMA Tries to Rally Members With New Vision

2012 ◽  
Vol 43 (7) ◽  
pp. 35
Author(s):  
ALICIA AULT
Keyword(s):  
New Vision
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