The Little Art Colony and US Modernism: Carmel, Provincetown, Taos by Geneva M. Gano

2021 ◽  
Vol 56 (2) ◽  
pp. 185-187
Author(s):  
Robert Thacker
Keyword(s):  
Art Colony

‘Something Stood Up in my Soul’: D. H. Lawrence in Taos

2020 ◽  
pp. 204-238
Author(s):  
Geneva M. Gano
Keyword(s):  
New Mexico ◽  
World System ◽  
American Woman ◽  
Modern World ◽  
Art Colony

D.H. Lawrence, like many of the artists affiliated with Taos’ modern little art colony, was invited there by Mabel Dodge Luhan to ‘see and feel and wonder’ the ‘essence’ of Taos and ultimately put it ‘between the covers of a book.’ Although Lawrence was leery of the highbrow’s fascination with Taos’ unique peoples and places, he nonetheless formally incorporated elements of the ‘Taos mystique’ into the work he produced while living there. In the novelette St. Mawr, which sympathetically portrays the wanderings of a cosmopolitan American woman who flees the ghastly modern metropolis of London, Lawrence details her discovery of ‘something else’ in the vital and otherworldly wilds of New Mexico. Although his protagonist is certain that she has found a final resting place in the gorgeous country in and around Taos, Lawrence’s inconclusive ending intimates that even at the far peripheries of the modern world-system, she can’t and won’t escape its soul-sucking reaches.

scholarly journals The role of art colonies in local development through the example of Cered Art Colony

Ecocycles ◽  
2021 ◽  
Vol 7 (1) ◽  
pp. 14-18
Author(s):  
Zoltán Bujdosó ◽  
Béla Benkő ◽  
Csaba Patkós
Keyword(s):  
Regional Development ◽  
Natural Environment ◽  
Theoretical Basis ◽  
Scientific Literature ◽  
Local Development ◽  
Human Environment ◽  
Starting Point ◽  
Art Colony

The current study's topic is the summary of the roles of art colonies in the local example. The theoretical basis of the study was given by the international scientific literature of art colonies and the role of culture in the life of settlements. The matter of research is relevant as an investigation based on a case study has not been made yet on this topic; moreover, it consists of important results for the professionals. On this basis, it can be determined that which factors affect positively the human and natural environment through an art colony. A further advantage of the study can conclude to the possible development ways of culture in the life of villages. The current research, regarding the future, is an ideal starting point to know the role of art in local (and regional) development. The main results of the case study are the tangible effects of the colony on the (natural and human) environment.

Liu Sola: China’s Musically Eclectic Composer

Jazz in China ◽  
2018 ◽  
pp. 126-135
Author(s):  
Eugene Marlow
Keyword(s):  
Classical Music ◽  
Contemporary Music ◽  
Modern Dance ◽  
Art Exhibitions ◽  
Early Music ◽  
Musical Traditions ◽  
Art Colony ◽  
Musical Styles ◽  
Film Sound

This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. Her range of musical styles includes classical music, jazz, early music, rock, traditional, and contemporary music. She is the founder of Liu Sola Music Studio, located in the Songzhuang art colony, a Beijing artist district. Liu Sola designed and built a music space for her ensemble to rehearse and record.

Segal, Arthur (1875–1944)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Modern Art ◽  
Political Engagement ◽  
Color Theory ◽  
Van Gogh ◽  
Traditional Art ◽  
Avant Garde ◽  
Vincent Van Gogh ◽  
Tristan Tzara ◽  
Art Scene ◽  
Art Colony

Arthur Segal was a Romanian artist born as Aron Sigalu to Jewish parents. He shifted his attention away from post-impressionist modernism around 1900 to focus on the radical avant-garde in the early 1920s, and then back to classicizing modernism in the 1940s. His work moved from traditional art-craft (painting, engraving) to modern and avant-garde practices (political engagement, teaching, curatorship, manifestos, theoretical writings, art-therapy). From 1892 to 1900 he studied in Berlin, Paris, and Munich. Segal was a student of Adolf Hölzel (founder of the art colony Neues Dachau), and much of his work was shaped by Hölzel’s color theory, where landscapes were formally structured as decorative grids rather than as phenomenal transcripts of ocular perception. In 1902–1903 he visited Italy and France, where he was influenced by the work of Vincent Van Gogh and Giovanni Segantini, whose naturalism and light-seeking divisionism he sought to appropriate in his own work. He exhibited with the Berliner Secession from 1909 onward, and co-founded the Neue Secession in 1910. Segal remained connected to the Romanian art scene, exhibiting with the TinerimeaArtistica group in 1910–1913. His 1910 Bucharest exhibition was heralded as ‘‘the first exhibition of modern art’’ in Romania (Segal 1974: 133). In 1914 Segal moved to Ascona, Switzerland, where he met Hans Arp, Hugo Ball, and Alexei Jawlensky, who were linked with the Monte Verita community. In 1916 Segal exhibited at Cabaret Voltaire alongside fellow Romanian Dadaists Tristan Tzara and Marcel Janco. In 1919 he joined the Novembergruppe, becoming one of its leaders.

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