Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art

2017 ◽  
pp. 447-489
1993 ◽  
Vol 26 (2) ◽  
pp. 456
Author(s):  
Jeffrey Butler ◽  
James Mayall ◽  
Anthony Payne
Keyword(s):  

Elements ◽  
2008 ◽  
Vol 4 (2) ◽  
Author(s):  
Svetlana Turova

Whether on oddly-shaped pillows, shrieking dolls, or basic coffee mugs, the emaciated protagonist with a gaping mouth and the swirling landscape of Edvard Munch's <em>The Scream </em>is one of today's most widespread images. Though Munch died just as abstract expressionism was being born, his emphasis on the highly personal and the unconscious through abstraction, brushwork, and intensely evocative colors link him closely to this important American art movement. Through the specific comparison of the oeuvre of Munch and the abstract expressionist Willem de Kooning, this essay will examine how and why the Norwegian painter became known as the "father of expressionism" in the history of art. <em>The Scream</em> is not central to this discussion, but instead will be looked at in conjunction with other early paintings and prints, such as <em>The Sick Child</em> and <em>The Kiss. </em>These works and others reveal Munch's artistics philosophy and technique and allow us to draw broader connections to future movements, neo-dadaism and expressionism among them.


Author(s):  
Fred Coelho

This article presents the contrasting views and theories formulated by European intellectuals such as Claude Lévis-Strauss and Max Bense on the situation of Brazil and Latin America in relation to the main centers of twentieth century criticism. It analyzes improvisation as a fundamental reflection index on the possibilities that third world countries have for negotiating the European Cartesian paradigm. If for some thinkers improvisation and its corollaries are proof that these countries and their people would live forever on the margins or in negative dialectics within the heritage of Enlightenment reason, for others it is precisely there--in the possibility of reinventing reason from hybridisms, strategic appropriations, and re-readings--that the creative and autonomous potentials in the post-colonial world lie. This article is situated precisely in the conflict between reason and the tropics, and looks to bring the debate up to date.


Author(s):  
Valentina Locatelli

A Mexican painter and muralist of indigenous heritage, Rufino Tamayo was one of the most important representatives of figurative abstraction and poetic realism in 20th-century Latin American art. A supporter of the universalistic approach to art, in the late 1940s he started a controversy—the so called ‘‘polémica Tamayo’’—by positioning himself against the classical Mexican school and its ‘‘Big Three,’’ the muralists José Clemente Orozco, Diego Rivera and Alfaro Siqueiros. Contrary to the stress they put on art as political, Tamayo focused on its poetic and emotional aspects. Tamayo’s art is based both on Mexican figurative traditions (characterized by the rigor and geometry of pre-Hispanic sculpture and its imaginative and magical character), and on the influence of European and North American avant-garde movements, especially Impressionism, Fauvism, Cubism, Futurism, Surrealism and Abstract Expressionism. His sensibility for nature and spirituality, his interest in ordinary people, and his ability to synthesize different pictorial languages with Mexican folk art and beliefs, have made him a very popular artist, nationally and internationally. Throughout his career Tamayo directed his effort ‘‘towards the salvation of painting, the preservation of its purity and the perpetuation of its mission as translator of the world’’ (Paz 1985: 23).


Author(s):  
Alfred Ndi

Drawing from Bruno Latour’s amodernist organization theory, which illuminates the canonization of epistemological boundaries in the field of project management studies, this paper argues that Homi Bhabha’s emancipative project in postcolonial research, has failed to assert itself in this globalizing age of projectification of societies. In its historiographical context incarnated in writings by management scholars, the field of project management orientalized Africa as underdeveloped and in need of occidentalist modernization. This Latourian insight driven by the quest for the ‘purified canon’ portraying the metropole as ‘centre’ of civilization and the colonies/Africa, as the Other, was tragically misjudged by nationalist ideologues fighting for independence, post-independence leaderships in Africa, who met in the Bandung Conference, advocates of a New World Economic Order, pan-Africanists, because their interventions were grounded chiefly in hybridization. But hybdization means the demise of the amodern and since the occident will not stand by to witness this decanonization with an applause, the Third World was already ‘mal parti’ (to cite Denan) because its post-independence leadership needlessly staged the post-colonial project on the path of a hybridization logic of inevitable confrontation rather than in a light of participation and solidarity. Hybridization in post-colonial management studies connotes with the inevitability of ‘confrontation’ at a time when the Third World does not have the means to deal efficiently with it. Hybridization can also mean ‘participation’ and ‘solidarity’ (in the sense of understanding the Other’s viewpoint and embedding it) without radiating the perception of threat and taking no responsibility or showing any competence to deal with the  consequences of that perception. It concludes that, instead of ‘playing’ the ideological game at the level of the ‘super-structures’, more emphasis should be placed on building greater competency in the Latourian amodernism of development, entrepreneurship, etc. The Third World needs to build more projects by investing in the knowledge industry of amodernism while incorporating its cultural values. The West and the emerging world should not see this as a ‘threat’ to amodernism but as a ‘richness’; but for this to happen, they should actively invest in sustainability of this process by supporting the intelligentsia of knowledge producers and interpreters in the Third World.


2021 ◽  
Vol 27 (41) ◽  
pp. 331-349
Author(s):  
Luiza Mader Paladino

A filósofa Otília Arantes nomeou O ponto de vista latino-americano o corpus crítico de Mário Pedrosa produzido após o desterro chileno, durante o governo de Salvador Allende (1970-1973). Nesse conjunto de textos, observa-se a recuperação de tradições que não haviam sido capturadas pela historiografia oficial, como as práticas e os saberes oriundos da cultura popular e indígena. Essa interpretação pode ser identificada em obras como Discurso aos Tupiniquins ou Nambás e Teses para o Terceiro Mundo, nas quais o crítico se amparou em um repertório terceiro-mundista partilhado no exílio. O autor exaltou uma leitura ancorada na inversão geopolítica, a qual localizou nos países situados ao sul uma fagulha revolucionária capaz de deflagrar a almejada transformação social e econômica. Essas obras-manifesto sintetizaram praticamente todo o discurso crítico, político e museológico que Pedrosa sustentou ao voltar para o Brasil, em 1977.Palavras-chave: Exílio; Terceiro Mundo; Arte latino-americana; Mário Pedrosa; Arte popular. AbstractThe philosopher Otília Arantes named The critical corpus of Mário Pedrosa produced after the Chilean exile during the Salvador Allende government (1970-1973) from The Latin American Spot. In this set of texts, there is a recovery of traditions that had not been captured by official historiography, such as the practices and knowledge derived from popular and indigenous culture. This interpretation can be identified in works such as Speech to the Tupiniquins or Nambás and Theses for the Third World, in which the critic relied on a shared Third World repertoire in exile. The critic praised a reading anchored in the geopolitical inversion, which located in the countries located to the south a revolutionary spark capable of triggering the desired social and economic transformation. These manifesto works synthesized practically all the critical, political and museological discourse that the author sustained when he returned to Brazil in 1977.Keywords: Exile; Third world; Latin American art; Mário Pedrosa; Popular art.


Sign in / Sign up

Export Citation Format

Share Document