scholarly journals Kazimir Malevich in Avant-Garde Discussions in 1928–1930

2021 ◽  
Vol 13 (2) ◽  
pp. 36-41
Author(s):  
Oksana Salata
Keyword(s):  
Modern Art ◽  
Scientific Research ◽  
Scientific Controversy ◽  
Traditional Art ◽  
Avant Garde ◽  
New Approaches ◽  
Art Form ◽  
History Of Art ◽  
History Of ◽  
Traditional Approaches

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.

The Two Expanded Cinemas

2020 ◽  
pp. 41-99
Author(s):  
Jonathan Walley
Keyword(s):  
Perceived Threat ◽  
Traditional Art ◽  
Avant Garde ◽  
Art Form ◽  
Wide Range ◽  
Expanded Cinema ◽  
Key Factor ◽  
History Of ◽  
Two Phases

This chapter, one of two that make up Part I of the book, provides a revised history of expanded cinema from the mid-1960s to the late 1970s. It divides this period into two phases or waves of expanded cinema. During the first phase, the term was more or less synonymous with “intermedia,” connoting hybridity, the dissolution of artistic boundaries, and the questioning of traditional art forms. But the liberatory rhetoric of this phase was countered by concerns that the expansion of cinema threatened to dilute and destabilize the art form that generations of filmmakers and film critics had worked to establish. It was within avant-garde film that the perceived threat to cinema’s identity caused the most anxiety, as that mode of film practice had always been the most preoccupied with the nature of cinema. Within a few years, the term “expanded cinema” was reclaimed by filmmakers whose work extended avant-garde cinema’s longstanding tradition of specifying the cinematic into a wide range of new, “expanded” forms. This phase of expanded cinema lasted through the 1970s into the first few years of the 1980s. Chapter 1 also introduces two other major themes: a historical process of negotiation between cinema’s specificity and its connections to the other arts, which works of expanded cinema enact, and the interplay between two conceptions of cinema—as a physical material and an ephemeral experience. This reciprocal movement between the material and ephemeral is a key factor in expanded cinema’s formal mutability.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

Contemporary Art

Art History ◽  
2014 ◽  
Author(s):  
Terry Smith
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Art World ◽  
Local Language ◽  
Early 21St Century ◽  
Public Media ◽  
History Of Art ◽  
History Of ◽  
The 1960S ◽  
The Many

As an art-critical or historical category––one that might designate a style of art, a tendency among others, or a period in the history of art––“contemporary art” is relatively recent. In art world discourse throughout the world, it appears in bursts of special usage in the 1920s and 1930s, and again during the 1960s, but it remains subsidiary to terms––such as “modern art,” “modernism,” and, after 1970, “postmodernism”––that highlight art’s close but contested relationships to social and cultural modernity. “Contemporary art” achieves a strong sense, and habitual capitalization, only in the 1980s. Subsequently, usage grew rapidly, to become ubiquitous by 2000. Contemporary art is now the undisputed name for today’s art in professional contexts and enjoys widespread resonance in public media and popular speech. Yet, its valiance for any of the usual art-critical and historical purposes remains contested and uncertain. To fill in this empty signifier by establishing the content of this category is the concern of a growing number of early-21st-century publications. This article will survey these developments in historical sequence. Although it will be shown that use of the term “contemporary art” as a referent has a two-hundred-year record, as an art-historical field, contemporary art is so recent, and in such volatile formation, that general surveys of the type now common for earlier periods in the history of art are just beginning to appear. To date, only one art-historiographical essay has been attempted. Listed within Contemporary Art Becomes a Field, this essay (“The State of Art History: Contemporary Art” (Art Bulletin 92.4 [2010]: 366–383; Smith 2010, cited under Historiography) is by the present author and forms the conceptual basis of this article. Contemporary art’s deep immersion in the art market and auction system is profiled in the separate Oxford Bibliographies article Art Markets and Auction. This article does not include any of the many thousands of books, catalogues, and essays that are monographic studies of individual contemporary artists, because it would be invidious to select a small number. For similar reasons, entries on journals, websites, and blogs are omitted. A select listing of them may be found in Terry Smith, Contemporary Art: World Currents (Upper Saddle River, NJ: Prentice Hall, 2011; Smith 2011 cited under Surveys). Books on art movements are not to be found because contemporary art, unlike modern art, has no movements in the same art-historical sense. It consists of currents, tendencies, relationships, concerns, and interests and is the product of a complex condition in which different senses of history are coming into play. With regret, this article confines itself to publications in English, the international language of the contemporary art world. This fact obscures the importance and valiance of certain local-language publications, even though many key texts were issued simultaneously both in the local language and English, and many others have subsequently been translated. In acknowledgment of this lacuna, a subsection on Primary Documents has been included.

Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 137-166
Author(s):  
Iwona Luba
Keyword(s):  
Modern Art ◽  
Foreign Affairs ◽  
State Agency ◽  
Central Bureau ◽  
Public Attention ◽  
Art Exhibitions ◽  
Strong Response ◽  
The West ◽  
Avant Garde ◽  
History Of

From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).

Avant-gardes in the First Half of the Twentieth Century: New Perspectives

2005 ◽  
Vol 14 (3) ◽  
pp. 391-402
Author(s):  
NORBERT BANDIER
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Literary History ◽  
Cultural Policy ◽  
Modern Art ◽  
Theoretical Models ◽  
Avant Garde ◽  
Art And Literature ◽  
History Of ◽  
History Of Culture

The time has come for researchers into innovative movements in art and literature in the first half of the twentieth century to break free from traditional investigative frameworks. The works reviewed here belong to different disciplines – art history, literary history, literary criticism, history – but all show a shift of perspectives in the history of culture. They point to a reassessment of the theoretical models we use to understand modern art and literature. Those models are – in this case as they relate to the avant-garde – nuanced, refined, developed and sometimes even invalidated. Though some of these works are not wholly devoted to the European avant-gardes, they do deal with the international circulation of modern art in, to or from Europe, studied here in its lesser-known aspects. Moreover, they all to some extent examine the artist’s responsibility to the community, or the state’s responsibility to art. This theme of responsibility runs through all these works, either in its ethical dimension or as an aspect of the social function of art, especially when art has to confront an entertainment culture or is roped in as part of cultural policy.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

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.

INFLUENCE OF THE SOVIET VANGUARD OF THE DEVELOPMENT OF MODERN ARCHITECTURE

2012 ◽  
Vol 2 (4) ◽  
pp. 22-24
Author(s):  
T. V KARAKOVA ◽  
E. V RYZhIKOVA
Keyword(s):  
Technological Progress ◽  
Modern Architecture ◽  
Avant Garde ◽  
Significant Events ◽  
Sufficient Detail ◽  
History Of Art ◽  
Aesthetic Consciousness ◽  
History Of ◽  
Transition Stages ◽  
Philosophical Understanding

Vanguard are typical for all the transition stages in the history of art culture, certain types of art. In the 20th century. notion of the avant-garde has become the term to refer to a powerful phenomenon of artistic culture that has enveloped her significant events, which have much in common. Vanguard is the reaction of the artistic and aesthetic consciousness on a global, not yet encountered in the history of mankind change in cultural and civilizational process caused by scientific and technological progress (STP) of the last century. The nature and importance to humanity of this process in culture have not yet received adequate scientific and philosophical understanding, but with sufficient detail expressed in the artistic culture in the phenomenon of the avant-garde, modernism, postmodernism.

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