scholarly journals Bordeaux vs. Paris: An Alternative Market for Local and Independent Artists?

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 114
Author(s):  
Léa Saint-Raymond
Keyword(s):  
Contemporary Art ◽  
The Other ◽  
Local Market ◽  
Artistic Identity ◽  
Local Initiative ◽  
Avant Garde ◽  
Symbolic Domination ◽  
Potential Success ◽  
The One ◽  
Art Critics

In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the artists from Bordeaux. This economic and symbolic domination stemmed from the lack of a strong artistic identity for this group, the absence of domestic galleries specializing in contemporary art and the low demographics of Bordeaux collectors.

PSYCHIATRIC PATIENT AS AN ARTIST: FORMING THE DISCOURSE OF OUTSIDER ART IN THE EARLY XXTH CENTURY

2021 ◽  
pp. 185-197
Author(s):  
Anna A. Suvorova ◽  
Keyword(s):  
Mentally Ill ◽  
Early Stage ◽  
Psychiatric Patients ◽  
The Other ◽  
Actual Process ◽  
Outsider Art ◽  
Avant Garde ◽  
Philosophy Of Culture ◽  
The One ◽  
Art Critics

The author of the article studies the discourse of outsider art and refers to the beginning of its formation: the phenomenon of the art of the mentally ill, which is delineated and legitimized at the early twentieth century. Following the conceptual apparatus of Michel Foucault, the surfaces of emergence and the authorities of delimitation of the art of outsiders (in the early stage of the art of the mentally ill) are initially marginal in relation to the field of art. Instead of traditional instances of art –critics, museums, art critics – in the case of the art of outsiders, the discourse of outsider art was formed by psychiatrists, philosophers, and leftist artists. The transformation of the traditional way of legitimizing the phenomena of art was largely due to the change in the philosophy of culture and, on the one hand, the emergence of the idea of Dionysian values, irrational in culture, on the other, with the emergence of the concepts of the unconscious and the designation of its meaning in the context of personality and culture. The latter has made the field of psychiatry valuable, and psychiatrists new levels of differentiation in culture and art. But it is important to note the cardinal changes that took place in psychiatry in the period of the turn of the XIX–XX century. Including as a result of the activities of the German and Swiss schools, psychiatry becomes complex, multi-component scientific knowledge, was striving to study various aspects of the human psyche. On the other hand, in Germany and Switzerland interest in the art of the mentally ill was formed largely as a result of the active influence of expressionist painting, literature and aesthetics and other avant-garde tendencies; all this sets the stage for significant success in understanding and evaluating the art of psychiatric patients. It is also important that the actual process of legitimizing the art of the mentally ill in the texts of Walter Morgenhalter and Hans Prinzhorn had gone through the using by psychiatrists of the description’s language and analysis’s logic of the indicated phenomena inherent in the contemporary critical art theory.

Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone

2020 ◽  
Vol 65 (1) ◽  
pp. 157-173
Author(s):  
Alexandros Diamantis
Keyword(s):  
Contemporary Art ◽  
International Association ◽  
British Museum ◽  
The Other ◽  
Xxth Century ◽  
The Face ◽  
Complex Relationships ◽  
The One ◽  
Greek World ◽  
Art Critics

"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

Cultural Memory and the Anti-Western Utopias of Russian “Futurians”

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 173-185
Author(s):  
Ekaterina Bobrinskaya
Keyword(s):  
Cultural Memory ◽  
The Other ◽  
Avant Garde ◽  
Russian Futurism ◽  
Eastern Cultures ◽  
New Form ◽  
Russian Modernism ◽  
The One ◽  
Strategic Goal

Abstract The paper deals with anti-Western motifs in Russian avant-garde culture, especially their refraction in Russian futurism. On the one hand, the tendency is linked to a strategic goal—asserting independent versions of this or that new form of art and, on the other, it coincides with fundamental features of Russian modernism such as archaization, national self-identification and Eastern cultures.

The Music of Magnus Lindberg

Tempo ◽  
1992 ◽  
pp. 25-30 ◽  
Author(s):  
John Warnaby
Keyword(s):  
Computer Technology ◽  
The Other ◽  
Orchestral Music ◽  
Avant Garde ◽  
Studying Abroad ◽  
Younger Generation ◽  
The 1950S ◽  
Post War ◽  
The One

Among composers born in the 1950s, who witnessed the decline of the post-war avant-garde – together with its most cherished principle, integral serialism – the Finn Magnus Lindberg has produced some of the most challenging responses. It is tempting to attach considerable significance to Lindberg's national origins. Born in 1958, he belongs to a particularly vital generation of Finnish composers whose output extends from traditional symphonic forms to experimental creations involving electroacoustic and computer technology. On the one hand, they have benefitted from the example of composers (such as Aulis Sallinen) who emerged from Sibelius's shadow not only by founding a strong operatic tradition, but also by generating their own brand of orchestral music. On the other, several of the younger generation have continued the practice of studying abroad, though without sacrificing their independence from the European mainstream.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

Teaching with Bartók's “Mikrokosmos”

Tempo ◽  
1951 ◽  
pp. 31-35
Author(s):  
Silvia Ameringer
Keyword(s):  
Contemporary Art ◽  
The Other ◽  
Virgin Soil ◽  
The Public ◽  
The One

Much is written about the gulf between contemporary art on the one hand and the public on the other. But does this really obtain? Is it impossible for a great creative artist to be understood by his contemporaries? There is one solution of this problem; ground carefully cultivated will bear fruit earlier than ground that has been neglected. When one begins with virgin soil, that is to say with the sensitive but musically undeveloped child, then it is that the best results will be attained.

scholarly journals Translation and the Application of Linguistics

2002 ◽  
Vol 39 (2) ◽  
pp. 374-386
Author(s):  
Probal Dasgupta
Keyword(s):  
Applied Linguistics ◽  
Scientific Progress ◽  
Translation Studies ◽  
The Other ◽  
Literary Studies ◽  
General Level ◽  
Avant Garde ◽  
Linguistic Research ◽  
Theory Of Language ◽  
The One

Abstract This article explores some topics at the boundary between linguistics theory and the applied linguistic foundations of the practice of translation. Section 1, The irrelevance of the avant-garde , considers the relation between such academic adventures as semiotics and poststructuralism on the one hand and the theory of language and the practice of translation on the other, and argues that radical antiscientism does not bear on the foundations of translation. Section 2, The irrelevance of the technical , looks at formal syntax and semantics in relation to the concepts of applied linguistics and shows that careful contemporary linguistics cannot underpin an applied enterprise that includes translation studies. Section 3, The substantive hase of translation , indicates (in some detail for translation and at a general level for other applied linguistic activities) the direction that the contemporary integration of various lines of linguistic research is taking vis-à-vis the needs of such applied enterprises as translation, literary studies, language planning, lexicography, and language teaching. Section 3 invokes a concept of substance as opposed to form and thus sets the scene for the concluding section 4, Pragmatics, applied studies, and scientific progress , which argues that it is necessary to take help from linguistics in order to construct the field of translation studies in such a way that practitioners can truly benefit freely from all relevant branches of knowledge, in view of the fact that chaos is an obstacle to genuine freedom.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

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