scholarly journals Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London

2020 ◽  
Author(s):  
Alexandra Timonina
Keyword(s):  
Modern Art ◽  
Art Exhibition ◽  
The West ◽  
Systematic Overview ◽  
European Modernism

The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.

Shirakaba and Rodin: A Transnational Dialogue between Japan and France

2018 ◽  
Vol 3 (1) ◽  
pp. 52-83
Author(s):  
Erin Schoneveld
Keyword(s):  
Modern Art ◽  
Public Access ◽  
White Birch ◽  
Auguste Rodin ◽  
The Public ◽  
Direct Exchange ◽  
Art Magazine ◽  
Literature Theory ◽  
European Modernism

This essay examines the role ofShirakaba(White Birch, 1910-1923) as an art magazine that aspired to create new audiences and foster the exchange of ideas by providing an alternate space to address diverse views about modern art, literature, theory, and identity. In addition to introducing European modernism to Japan through the writings of western artists, authors, and thinkers,Shirakabacreated access to and direct exchange of artwork with a number of artists such as Auguste Rodin (1840-1917), Heinrich Vogeler (1872-1942), Max Klinger (1857-1920), and Bernard Leach (1887-1979). Among these,Shirakaba’stransnational dialogue with the French sculptor Auguste Rodin was the most significant. I argue thatShirakaba’sdiscourse with Rodin not only facilitated new forums for the public access and display of modern art in Japan, but also was emblematic of its humanist ideology rooted in artistic subjectivity and self-expression.


Inaugurating the “White Passage”: Art ‘76

2021 ◽  
pp. 1-20
Author(s):  
Hera
Keyword(s):  
Large Scale ◽  
Modern Art ◽  
Historical Study ◽  
National Museum ◽  
Art Exhibition ◽  
Art Gallery ◽  
Exhibition Space ◽  
The 1960S

Abstract Within an art exhibition, the disposition of space is fundamental in experiencing artworks. A study of the exhibition space as discourse enmeshes art within a framework of relationship and processes instead of viewing art as an isolated and autonomous object. This paper features the case study of Art ‘76, the inaugural exhibition of Singapore's first large-scale institution of art, the National Museum Art Gallery (NMAG). The NMAG's opening in 1976 had been much anticipated by artists and the art audience since the 1960s, it was also an important milestone in the National Museum of Singapore's process of modernisation and revitalisation. During Singapore's post-independent period, the National Museum began to redefine itself as a civic museum focussing on Singapore's history and culture, shifting away from its previous incarnation of a research-focused colonial institution, the Raffles Library and Museum. Singapore was not alone in exploring the role of modern art in nation-building, as neighbouring Southeast Asian countries such as Indonesia, Philippines, Malaysia and Thailand also began to moot for their own institution of modern art around the same period of time. Art ‘76 and the NMAG represent a case of distinct spatial typology that arose out of unique institutional and socio-political dynamic in post-independent Singapore. In analysing the legacy as well as the relationships and contentions that shaped the spatial articulation of Art ‘76, this paper studies existing visual and oral archive, as well as critically evaluating the concepts of space as a subject of historical study.

scholarly journals Early Symptoms of Modernism in Traditional Balinese Painting Began in Northern Bali

2020 ◽  
Vol 5 (2) ◽  
pp. 59-72
Author(s):  
I Dewa Alit Dwija Putra ◽  
◽  
Sarena Abdullah ◽  
Keyword(s):  
Modern Art ◽  
Early Period ◽  
The West ◽  
Early Symptoms ◽  
History Of ◽  
Traditional Arts ◽  
The Village ◽  
Visual Changes

The history of significant changes in traditional Balinese art towards modern art took place in the 1930s in the village of Ubud, South Bali. Visual changes in Balinese art are unlike changes in modern art in the West or in Indonesian modern art. The visuals show a strong traditional style, although signs of modernity as this paper will argue, can be found. Modern Balinese art in Ubud in the 1930s actually started in North Bali in the 1870s. It was the role of two Dutchmen named Van der Tuuk and W.O.J. Nieuwenkamp, a linguist and academic artist, who contributed to the introduction of modern art to North Balinese artists. The interaction between the two Dutchmen and the local artists gave birth to arts that are slightly different from traditional arts in Bali. This paper will discuss the shift from traditional to modern painting done by Balinese artists in this early period that resulted in the transition of traditional to modern art through the changes in techniques and media; and themes and functions of these visuals. As such, this marks a shift from art that are no longer spiritual but lean more towards the profane.

Moscow Merz and Russian Rhythm

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 117-126
Author(s):  
Miriam Häßler
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Russian Civil War ◽  
Art Exhibition ◽  
Comprehensive Overview ◽  
Russian Art ◽  
Art Scene ◽  
Remarkable Event ◽  
History Of

Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.

Economic and Legal Support for Commercialization of Intellectual Property in Russia

2003 ◽  
pp. 66-76
Author(s):  
I. Dezhina ◽  
I. Leonov
Keyword(s):  
Intellectual Property ◽  
The State ◽  
Commercial Application ◽  
The West ◽  
Role Of The State ◽  
Legal Context

The article is devoted to the analysis of the changes in economic and legal context for commercial application of intellectual property created under federal budgetary financing. Special attention is given to the role of the state and to comparison of key elements of mechanisms for commercial application of intellectual property that are currently under implementation in Russia and in the West. A number of practical suggestions are presented aimed at improving government stimuli to commercialization of intellectual property created at budgetary expense.

Two Representations of the Moscow Art Theater Audience

2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina
Keyword(s):  
Online Community ◽  
Modern Art ◽  
Virtual Space ◽  
Demographic Parameters ◽  
Cultural Consumption ◽  
Cultural Activity ◽  
Behavioral Differences ◽  
Technological Revolution ◽  
Definition Of

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.

Magistri Legis. Eine Studie zur dogmatischen Funktion im industriellen System

2011 ◽  
Vol 2 (2) ◽  
pp. 69-112
Author(s):  
Pierre Legendre
Keyword(s):  
Social Function ◽  
Modern Human ◽  
Human Behaviour ◽  
Cultural Reproduction ◽  
Industrial System ◽  
The West ◽  
History Of ◽  
History Of Law ◽  
New Look

"Der Beitrag reevaluiert die «dogmatische Funktion», eine soziale Funktion, die mit biologischer und kultureller Reproduktion und folglich der Reproduktion des industriellen Systems zusammenhängt. Indem sie sich auf der Grenze zwischen Anthropologie und Rechtsgeschichte des Westens situiert, nimmt die Studie die psychoanalytische Frage nach der Rolle des Rechts im Verhalten des modernen Menschen erneut in den Blick. </br></br>This article reappraises the dogmatic function, a social function related to biological and cultural reproduction and consequently to the reproduction of the industrial system itself. On the borderline of anthropology and of the history of law – applied to the West – this study takes a new look at the question raised by psychoanalysis concerning the role of law in modern human behaviour. "

Introduction

2017 ◽  
Author(s):  
George Hoffmann
Keyword(s):  
Chief Editor ◽  
City Council ◽  
The West ◽  
Son Of God ◽  
Warm Summer ◽  
The City

On a warm summer afternoon in 1561, Calvin’s chief editor donned a heavy stole, thick robes, and a gleaming tiara and proceeded to strut and fret his hour upon the stage in a comedy of his own devising. For little more than a century, Christians in the West had celebrated on August 6th Christ’s Transfiguration as the son of God in shining robes. But on this Sunday in Geneva, the city council, consistory, and an audience fresh from having attended edifying sermons at morning service gathered to applaud the transfiguration of the learned Conrad Badius into the title role of ...

Levantine Art in the “Orientalizing” Period

2019 ◽  
pp. 369-383
Author(s):  
Marian H. Feldman
Keyword(s):  
Twentieth Century ◽  
Cultural Relations ◽  
Ancient Greek ◽  
The West ◽  
False Dichotomy ◽  
First Millennium

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.

»Entartete Genialität« Guernica im geteilten Deutschland

2019 ◽  
Vol 82 (2) ◽  
pp. 234-248
Author(s):  
Martin Schieder
Keyword(s):  
Modern Art ◽  
The West ◽  
Postwar Germany ◽  
Cultural Event ◽  
Historical Responsibility ◽  
The Republic ◽  
German People ◽  
First Time

Abstract When in 1955/1956, for the first time in divided postwar Germany, a major Picasso exhibition took place in Munich, Cologne, and Hamburg, it came to be a cultural event that reached and emotionalized the German audience, media, and sciences to an unprecedented extent. The exhibition Picasso 1900 – 1955 contributed significantly to the popularization of Picasso at all levels of society and gave the German people access to modern art on a much wider scale than the first documenta held concurrently in Kassel. The undisputed eye-catcher of that spectacular exhibit was Guernica, on display in Germany for the first and only time. Its controversial reception reveals that at that time there was no intention to see the work in Germany in a memorial relationship with Germany’s own historical responsibility. Thus it virtually functioned as a symbol for a collective amnesia of the West German postwar society, whereas the socialist East of the Republic stylized the painting into an anti-fascist icon.

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