scholarly journals PHILOSOPHICAL STATUS OF ARTISTIC AVANT-GARDE

2021 ◽  
pp. 35-40
Author(s):  
N.G. Krasnoyarova
Keyword(s):  
Cultural Values ◽  
Art Criticism ◽  
Avant Garde ◽  
Philosophy Of Culture

The article asserts the exhaustion of art criticism and culturological approaches to the artistic avant-garde. The context of the philosophy of culture as an actual section of philosophy makes it possible to reveal the essential moments of culture as a whole in the artistic avant-garde and to manifest the function of the avant-garde as a special “new phenomenon” imparting dynamism to culture in ways of accepting or rejecting cultural values.

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.

Abundance 1961–1971

2012 ◽  
Keyword(s):  
United States ◽  
Art Criticism ◽  
The United States ◽  
Pop Art ◽  
Avant Garde ◽  
Clement Greenberg

This section focuses on Lawrence Alloway's life as an art critic in the period 1961–1971, beginning with his travel to the United States in 1961 and his dispute with Clement Greenberg with regards to art criticism, particularly of junk art. It also considers Alloway's writings on American Pop art, the mounting of the exhibition Six Painters and the Object and Six More in 1963, Alloway's relationship with Alexander Liberman and Paul Feeley, his views on abstraction and iconography as well as newness and avant-garde art, his reviews of a number of films and his pluralism.

Senghor, Léopold Sédar (1906–2001)

2018 ◽  
Author(s):  
Phyllis Taoua
Keyword(s):  
Interwar Period ◽  
Aime Cesaire ◽  
African Culture ◽  
Black African ◽  
Avant Garde ◽  
Philosophy Of Culture ◽  
African Spirituality ◽  
European Thought ◽  
Modern Era ◽  
Cultural Theorist

Léopold Sédar Senghor is one of the most influential African poets of the modern era. He also left his mark as a controversial cultural theorist and president of his native Senegal from 1960 until 1981. The poet and statesman participated with Aimé Césaire and Léon Gontran Damas in founding the négritude movement during the interwar period in Paris. Négritude was a cultural revolution that affirmed black African culture across geographical borders, combining a political vision of social justice for all peoples of African origin with an innovative poetic idiom. Senghor’s distinctive contribution to this avant-garde effort was a set of inter-related concepts with which he developed his theory of black African culture. The first was a notion of cross-cultural creativity entailing an interpenetration of African and European cultures. The second was a selective assimilation of certain aspects of French culture into an African conceptual framework. The third was an African version of socialism that integrated a community-centred ethics with a traditional African spirituality. Senghor believed that African culture had unique contributions to make to European thought, and worked to define a theory of culture based on dialogue, reciprocity and an inclusive humanism, which would pave the way for Africa’s integration into a civilization of the universal. His philosophy of culture is unsystematic; it appears as a collection of insights derived from various sources on the central theme of négritude.

Art and/or Revolution: The Matter of Painting in Postwar Japan

ARTMargins ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 37-57 ◽  
Author(s):  
Pedro Erber
Keyword(s):  
Art Criticism ◽  
Abstract Expressionism ◽  
Subsequent Development ◽  
The United States ◽  
The Political ◽  
Individual Freedom ◽  
Postwar Art ◽  
Avant Garde ◽  
Postwar Japan ◽  
Japanese Art

Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.

scholarly journals The problem of the local in philosophical tradition and in modern philosophy of culture

2021 ◽  
pp. 3-7
Author(s):  
O. V. Borodenko
Keyword(s):  
Cultural Values ◽  
Cultural Context ◽  
Philosophical Tradition ◽  
Contemporary Philosophy ◽  
Scientific Publications ◽  
Cultural Objects ◽  
Cultural Phenomenon ◽  
Philosophy Of Culture ◽  
Hierarchical Structuring ◽  
History Of

The present article is concerned with the problem of the local in the history of philosophy and in contemporary philosophy of culture. It emphasizes the relevance and interdisciplinary essence of this problem. The evolution of the concepts “local” and “locality” in classical and contemporary philosophy (by the example of the concepts of individual thinkers) is traced, and the meaning of these concepts for understanding the contemporary cultural context is determined. So, in particular, the development of ideas about the localization of an object in space in ancient philosophy (in Plato) is traced. The problem of the local in non-classical and post-non-classical philosophy is considered in connection with the problem of the crisis of cultural values. An attempt is made to define the concept of “locality” as a cultural phenomenon based on the analysis of the works of P. Sloterdijk, I. Hassan, J. Baudrillard and others, as well as the latest scientific publications. Emphasis is placed on analyzing the problem of the local as a philosophical concept, and at the same time, the phenomenon of culture, in the framework of postmodern ideas, the theory of cultural globalization, in the microspherology of P. Sloterdijk. The principle of “indetermanence” by I. Hassan, which most fully reveals the postmodern rejection of hierarchical structuring of culture and the process of transition from centering to scattering, to peripheral dislocation of cultural objects and phenomena, is considered as a kind of “methodological basis” of the analysis of locality as a cultural phenomenon. Locality is defined by the author of the article as “a certain holistic microworld (microsphere) formed by a person or a group of people as part of his (their) lifeworld and accumulating key values, ideas, symbols, etc., that are particularly significant for these people”. The main features of locality as a cultural phenomenon are considered: a) attachment to a particular place (locus); b) locality is at the same time a fragment of the world, the cosmos and a holistic microworld that lives by its own laws; c) spatiality and temporality, chronotopicity; d) dynamic and historic; e) anthropological, centered around a person or a group of people; f) symbolism.

Film criticism and the legitimization of a New Wave in contemporary Greek cinema

2020 ◽  
Vol 6 (1) ◽  
pp. 29-49 ◽  
Author(s):  
Eirini Sifaki ◽  
Anastasia Stamou
Keyword(s):  
Content Analysis ◽  
Media Coverage ◽  
Art Criticism ◽  
Film Industry ◽  
Film Criticism ◽  
New Wave ◽  
Cultural Products ◽  
Avant Garde ◽  
Greek Society ◽  
The Social

Contemporary Greek cinema garnered a great reputation in recent years, including Oscar nominations, numerous awards and distinctions in international festivals and also worldwide media coverage. The emergence of a new group of filmmakers whose creativity and avant-garde aesthetics were stimulated and heightened by the social and economic crisis was first marked by media critics (film critics and cultural journalists). As journalistic art criticism plays a prominent role in the legitimization of cultural products and artistic genres, this article examines the way in which professional film critics and journalists, both in Greece and abroad, described, evaluated and labelled the ‘Greek New Wave’. In line with cultural evaluation theories, we conducted a content analysis of film criticism articles in order to explore how professionals have reviewed and deployed their arguments towards this new phenomenon. Our results indicate that film criticism decisively influenced the Greek New Wave’s shaping and legitimization in the film industry. Even though film critics and journalists hesitated to adhere to a specific name for this phenomenon in Greek cinema, their discourses and interpretations have been based on the films’ break with previous film practices and representations of Greek society and the paradox between a ‘collapsing country’ and a flourishing arthouse cinema.

Art After Deskilling

2010 ◽  
Vol 18 (2) ◽  
pp. 77-96 ◽  
Author(s):  
John Roberts
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Modern Art ◽  
Ideology Critique ◽  
Advanced Level ◽  
Avant Garde ◽  
Modern Period ◽  
The 1960S ◽  
Radical Transformation ◽  
Artistic Skill

The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.

The quest of finding the self in the Bedhaya: Unravelling the psychological significance of the Javanese sacred dance

2021 ◽  
pp. 1354067X2110474
Author(s):  
Satwika Rahapsari
Keyword(s):  
Cultural Values ◽  
Aesthetic Experience ◽  
Classical Dance ◽  
Avant Garde ◽  
Court Dance ◽  
Psychological Significance ◽  
Embodied Wisdom ◽  
Psychological Capacities ◽  
Sacred Dance ◽  
Higher Consciousness

The Bedhaya is the avant-garde of Yogyakarta and Surakarta (Java, Indonesia) court dance. This classical dance replete with Javanese symbols, spirituality and cultural values embedded in its aesthetic elements. Furthermore, the Bedhaya was created not for entertainment but rather as a meditative medium that would allow individuals to gain wisdom and higher consciousness. These noble characteristics of the dance suggest that the Bedhaya has psychological purposes for the performers and the spectators. We may gain insight into the process of attaining mental growth through studying the embodied wisdom and aesthetic ideal of the Bedhaya, which reflects the development of the human’s psyche. Therefore, the author proposes an interpretation of Bedhaya’s underlying symbolism, aesthetic experience, and potential as means of psychological growth. The paper’s primary argument is delivered by studying a set of theoretical ideas that present Bedhaya as a distinguished aesthetic with psychological capacities. Further, art as an embodiment of cultural wisdom and ethics is also discussed by connecting Bedhaya and other artistic forms drawn from varied cultures.

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