National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

AICARC and the Archives of Modern Art

1986 ◽  
Vol 11 (2) ◽  
pp. 4-8 ◽  
Author(s):  
Hans-Jörg Heusser
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
Primary Sources ◽  
Archival Material ◽  
History Of ◽  
The 1960S ◽  
20Th Century Art

Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.

scholarly journals Коллекция Пегги Гуггенхайм

2021 ◽  
pp. 270-279
Author(s):  
O.A. Yartseva
Keyword(s):  
New York ◽  
20Th Century ◽  
Significant Contribution ◽  
Art Scene ◽  
History Of ◽  
First Time ◽  
20Th Century Art

The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.

Aisthēsis

2017 ◽  
Author(s):  
David Vichnar ◽  
Louis Armand
Keyword(s):  
20Th Century ◽  
Technological Condition ◽  
Marshall Mcluhan ◽  
Avant Garde ◽  
Artistic Activity ◽  
The Arts ◽  
History Of ◽  
Formed Part ◽  
Political Imaginary ◽  
And Function

Etymologically and conceptually linked with sense perception (as opposed to, in the Platonic tradition, noēsis or intellection) in ancient, medieval, and early-modern thought, aisthēsis formed part of theorizing not only questions surrounding beauty and art, but also perception, epistemology, and even ontology (in, for instance, the work of Plato, Aristotle, and Thomas Aquinas). During the Enlightenment and its project of subdivision and categorization of the “humanities,” aisthēsis became subsumed, in the work of Alexander Baumgarten, by “aesthetics,” the study of beauty in the narrower sense. However, by the beginning of the 20th century and the Marxist/Freudian/Saussurean revolution in humanist inquiry and the “avant-garde” revolution in the arts, aisthēsis resumed its place and function as a central node in a vast network of concerns: for the Marxists, the history of aisthēsis follows the pattern of social development of progressive mastery over nature by humankind, described as a process of rationalization (the Frankfurt School of Critical Theory); in psychoanalysis and phenomenology, artistic activity is regarded as the “sublimated” expression of socially objectionable energies, taking place in a world conceived of as indefinite and open multiplicity (John Dewey, Maurice Merleau-Ponty, et al.); in poststructuralist theory, the image not simply “acquires” a politico-aesthetic function by way of an act of judgement, but rather accedes in its very technological condition to a political imaginary, to an aesthetics as such (Roland Barthes, Jacques Derrida, et al.). In the second half of the 20th century, with the progressive technologization of society, aisthēsis formed the backbone of media studies, which examines how technological innovation overthrows a settled political and aesthetic order, with special attention paid to the effects of electronic media and the hypertext: non-linearity, repetitiveness, discontinuity, intuition (e.g., Marshall McLuhan and Jay David Bolter). At the dawn of the 21st century, in the aesthetico-mimetic doubling of the mediasphere, from teletext and satellite TV to the World Wide Web and GPS, a critical, ecological mode of thinking aisthēsis assumes the ideal function of an “avant-gardism” in affecting the structure of how things come to mean, how meaning is virtualized, and how the virtual is lived.

Cubo-Futurism

2018 ◽  
Author(s):  
Anthony Parton
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Italian Futurism ◽  
Avant Garde ◽  
Art And Literature ◽  
History Of ◽  
Artistic Works ◽  
Transitional Phase ◽  
Innovative Approaches

Cubo-Futurism (Kubo-Futurizm) was a term used by the early 20th-century Russian avant-garde to describe literary and artistic works that represented a fusion of Cubist and Futurist styles and principles. The term surfaced in 1912, at a point when the Russian avant-garde were exposed simultaneously to Analytical Cubism and Italian Futurism. At this stage in their development, young Russian poets and painters were beginning to move away from forms of Expressionism and to explore more innovative approaches. Cubism and Futurism offered the ideological and practical means to engage with abstraction and, ultimately, non-objectivity, in a serious and distinctive manner. By 1915, however, Cubism and Futurism had exhausted their usefulness for these poets and painters, who had now passed into completely new territory in the form of Velimir Khlebnikov’s and Aleksei Krucheynykh’s zaum (transrational) poetry, Kazimir Malevich’s Suprematism and, subsequently, Vladimir Tatlin’s and Aleksandr Rodchenko’s Constructivism. A distinctive movement of the pre-war period, Cubo-Futurism possessed an episodic character and manifested as a transitional phase in the history of Russian avant-garde art and literature in the early 20th century. It was a bridge by which the Russians approached their radical non-objective conclusions of the 1920s.

scholarly journals Beginning of Typographic Installation and Contemporary Graphic Creativity

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Selma Kozak
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Modern Art ◽  
Hybrid Form ◽  
Art And Design ◽  
Early 21St Century ◽  
Text Type ◽  
Avant Garde ◽  
Art Practices ◽  
Almost All

Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary artwork examples, design arts, installations and conceptual art movements blurred the boundaries between art and typograph. Especially artists and designers started to use typography in their personal expressions as a post-modern art strategy and, as a result, typography became a hybrid form to assess in 21st century art practices and also a raison d’être to convey idea, thought and message. In this paper, by using the descriptive method, I will focuse on the relationship between typographic installation and contemporary graphic creativity. In this regard, evaluating Beatrice Warde’s philosophy along with the samples of typographic installation of artists such as Sheila Levrant de Bretteville, Stephen Doyle, Barbara Kruger etc. and a special museum Deportee Memorial Museum Carpi, will be helpful in order to compare the changes in the past and present approaches in typographic applications and it will be useful in order to understand today’s graphic creativity.

scholarly journals The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”

ICONI ◽  
2019 ◽  
pp. 159-171
Author(s):  
Anton А. Rovner ◽  
Keyword(s):  
20Th Century ◽  
Arnold Schoenberg ◽  
Early 20Th Century ◽  
Music Festival ◽  
Early 21St Century ◽  
Avant Garde ◽  
The World ◽  
History Of ◽  
Italian Music ◽  
The 19Th Century

The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

scholarly journals Tuwim’s Dialogues with Banality

2017 ◽  
Vol 36 (6) ◽  
pp. 219-231
Author(s):  
Tomasz Bocheński
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Avant Garde ◽  
Colloquial Language ◽  
Creative Person ◽  
Original Speech ◽  
In The Beginning ◽  
20Th Century Art ◽  
Mass Form

The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

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