The Art of the Pose: Oscar Wilde's Performance Theory, by Heather MarcovitchThe Modern Art of Influence and the Spectacle of Oscar Wilde, by S. I. SalamenskyWilde's Wiles: Studies of the Influences on Oscar Wilde and His Enduring Influences in the Twenty-First Century, edited by Annette M. Magid

2014 ◽  
Vol 56 (2) ◽  
pp. 348
Author(s):  
Hanson
Keyword(s):  
Oscar Wilde ◽  
Modern Art ◽  
First Century ◽  
Performance Theory ◽  
Twenty First Century

scholarly journals Happiness is Not Fun: Godard, the 20th Century, and Badiou

2010 ◽  
Vol 18 (2) ◽  
pp. 29-42
Author(s):  
Michael Walsh
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
First Century ◽  
Museum Of Modern Art ◽  
Film Festival ◽  
French Cinema ◽  
The Past ◽  
Twenty First Century ◽  
Year 2000 ◽  
Film And Video

"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."

“Secret Mechanism”: Les Contes d'Hoffmann and the Intermedial Uncanny in the Metropolitan Opera's Live in HD Series

2012 ◽  
Vol 36 (2) ◽  
pp. 191-203
Author(s):  
Brianna Wells
Keyword(s):  
Vantage Point ◽  
First Century ◽  
Performance Theory ◽  
Center Stage ◽  
Metropolitan Opera ◽  
The Uncanny ◽  
Mise En Scene ◽  
Twenty First Century ◽  
Lincoln Center ◽  
And Performance

Abstract The Metropolitan Opera's Live in HD series has sparked interdisciplinary interest in understanding opera in twenty-first-century contexts. This article posits that the Live in HD series creates an intermedial experience for its viewers, one that forms new relationships between operatic performance and audiences through the ongoing intersections of production elements (story, text, music, mise-en-scène, performers) and media-specific concerns (spectatorial gaze, hypermediacy, immediacy, reproducibility, liveness). A reading of act I from the 2009 Metropolitan Opera simulcast of Offenbach's Les Contes d'Hoffmann engages the shifting relations regarding the human and the technological as presented to the Live in HD viewer from the vantage point of on, back, beside, in front of, and yet completely discrete from the Lincoln Center stage. The mediated and mediatized relationships engendered by this constant resituating of the audience create a sense of the familiar rendered strange, of being somehow out of place in one's relation to the stage. Media and performance theory are employed in concert with Freud's influential work on the uncanny to describe this as the “intermedial uncanny”: an important aspect of this emergent audience experience.

Reflection

2017 ◽  
Author(s):  
I-Uen Wang Hwang
Keyword(s):  
Modern Art ◽  
First Century ◽  
Alternative Methods ◽  
Abstract Art ◽  
Geometric Patterns ◽  
Twenty First Century

In twenty-first-century atonal music, tonality is more than the organization of musical components: it also includes timbres, texture, instrumentation, articulation and additional elements which will be discussed in a moment. In modern art since the era of impressionism, painting has developed towards a synaesthetic scheme in which tonality is considered to be a succession of movements. Modern art also places a greater emphasis on the use of colours to depict emotions. Traditional subjects are often superseded by geometric patterns. Abstract art is thus akin to atonal music, which replaces tonal centres with alternative methods of structuring the twelve notes....

The language of gesture: Untimely bodies and contemporary performance

2018 ◽  
Author(s):  
Joshua Davies
Keyword(s):  
Early Modern ◽  
Middle English ◽  
Modern Art ◽  
The Body ◽  
First Century ◽  
Video Installation ◽  
English Poem ◽  
Contemporary Performance ◽  
Twenty First Century

This chapter explores the medieval interests of two twenty-first century pieces of art: Elizabeth Price’s immersive video installation, The Woolworths Choir of 1979 (2012), and Michael Landy’s Saints Alive (2013). Both of these works turn to medieval culture in order to examine the untimeliness of the body and this chapter traces their sources and explores how their work speaks with, and to, medieval representations of the body. It contextualises Price and Landy’s work with explorations of medieval effigies and the Middle English poem St Erkenwald. The methodology of this chapter is informed by Aby Warburg’s work on gesture in early modern art and interrogates moments of contact and communication across time.

scholarly journals The Work of Modern Art: In Search for the New Meanings

2020 ◽  
Author(s):  
Marina Moskalyuk ◽  
Tatyana Serikova
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Modern Art ◽  
First Century ◽  
Art Practice ◽  
Case Examples ◽  
New Meanings ◽  
Art Works ◽  
The World ◽  
Twenty First Century

The article discusses the characteristics of contemporary art works and the specifics of its interaction with the audience. We demonstrate that contemporary art is not so much a way of reflecting on the world around us, but rather a way of learning about it, as well as a peculiar game (provocation) whose meanings are unknown and closed for discussion. Today it is impossible to provide unambiguous answers to the challenges faced by the art practice of the twenty-first century. Nevertheless, it is necessary to consider topical issues, outline ways to study them, structure groups of facts, and determine methods for their research and description. The priority during this process is to identify the qualitative components of the works of contemporary visual art. To do this, it is necessary to determine the features that distinguish contemporary works from those created at the previous stages of art development. Further research is required for this problem. Here we use as case examples the works of Krasnoyarsk artists Anna Osipova and Alexander Surikov, who combine both classical and actual characteristics. Keywords: contemporary art, communication, Anna Osipova, Alexander Surikov

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