Richter, Hans (1888–1976)

2018 ◽  
Author(s):  
Maria Ioniță
Keyword(s):  
United States ◽  
The United States ◽  
Avant Garde ◽  
Graphic Artist ◽  
Blaue Reiter

Hans Richter was a German painter, graphic artist, and experimental filmmaker associated with a number of the European avant-garde movements, most notably Dadaism. After 1940 he moved to the United States where he continued to paint and make films. Richter’s earliest artistic contacts were with the Blaue Reiter group and Cubism. In 1916 after being wounded and discharged from the army, he joined the Dada movement where he met Hans Arp, Marcel Janco, and, most notably, Viking Eggeling. Eggeling’s influence was crucial, since he introduced Richter to ‘orchestrations’: formal experiments similar to the musical counterpoint that sought to establish relations between opposites from which the artistic object eventually emerged.

Material World: Gender and the Bible in Evangelical Purity Culture

2018 ◽  
Author(s):  
Sara Moslener
Keyword(s):  
United States ◽  
Young People ◽  
Gender Roles ◽  
The United States ◽  
Modern Life ◽  
Material World ◽  
Avant Garde ◽  
Teenage Girls ◽  
Traditional Gender Roles ◽  
The Bible

For evangelical adolescents living in the United States, the material world of commerce and sexuality is fraught with danger. Contemporary movements urge young people to embrace sexual purity and abstinence before marriage and eschew the secular pressures of modern life. And yet, the sacred text that is used to authorize these teachings betrays evangelicals’ long-standing ability to embrace the material world for spiritual purposes. Bibles marketed to teenage girls, including those produced by and for sexual purity campaigns, make use of prevailing trends in bible marketing. By packaging the message of sexual purity and traditional gender roles into a sleek modern day apparatus, American evangelicals present female sexual restraint as the avant-garde of contemporary, evangelical orthodoxy.

Maximus

2018 ◽  
Author(s):  
Mark Byers
Keyword(s):  
United States ◽  
Political Action ◽  
American Art ◽  
The United States ◽  
The Self ◽  
Postwar Period ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art Practices ◽  
The One

This concluding chapter charts the continuing significance of the early postwar moment in Olson’s later work, particularly The Maximus Poems. The philosophical and political concerns of the American avant-garde between 1946 and 1951 play out across The Maximus Poems just as they inform later American art practices. The search of the early postwar American independent left for a source of political action rooted in the embodied individual is seen, on the one hand, to have been personified in the figure of Maximus. At the same time, Maximus’s radical ‘practice of the self’ charts a sophisticated alternative to the Enlightenment humanist subject widely critiqued in the United States in the immediate postwar period.

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.

Introduction

2018 ◽  
pp. 1-16
Author(s):  
Laura Harris
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Middle Class ◽  
Social Theory ◽  
The United States ◽  
Theory And Practice ◽  
Aesthetic Theory ◽  
Avant Garde ◽  
History Of ◽  
Visual Artist

In Experiments in Exile, I explore and compare projects undertaken by two twentieth-century American intellectuals while they lived in voluntary exiles in the United States: the Trinidadian writer and revolutionary C. L. R. James and the Brazilian visual artist and counterculturalist Hélio Oiticica. James and Oiticica never met. They lived and worked in the United States at different moments. My focus is on James’s stay during the 1940s and on Oiticica’s stay during the 1970s. Given the significant differences between them—not just at the level of nationality but at the level of race (James was black, Oiticica was white), class (James was situated within a precarious middle class, Oiticica was firmly established within an upper middle class), sexuality (James was straight, Oiticica was gay), and disciplinary locations (James is generally situated in the history of radical social theory and practice, and Oiticica is generally situated in the history of avant-garde aesthetic theory and practice)—this is surely an unlikely combination. This study is itself an experiment, one that goes beyond the usual parameters of comparativist or transnational research, to identify, in the surprising resonances between the projects pursued by these two very disparate figures, a common project I believe they, together, bring into relief....

Fuzzy Reliability Theory

2021 ◽  
pp. 222-259
Author(s):  
Ingrid N. Pinto-López ◽  
Cynthia M. Montaudon-Tomas
Keyword(s):  
United States ◽  
Bibliometric Analysis ◽  
Science Research ◽  
The United States ◽  
Reliability Theory ◽  
Fuzzy Reliability ◽  
Avant Garde ◽  
China And India ◽  
The World ◽  
The Uk

This chapter analyzes fuzzy reliability theory using bibliometric analysis. Different aspects of fuzzy have already been analyzed using bibliometric analysis, and a series of bibliometric tools have also been used. VOSviewer software was used to identify maps showing the most relevant trends. The analysis includes scientific articles, citations, journals, authors, universities, keywords, and countries. Results show that countries belonging mainly to Asia are at the avant-garde in terms of research in the field, China and India being the most productive countries in terms of the number of articles published, citations, and universities invested in the topic. Other countries in North America, such as Canada and the United States, and in Europe, the UK, Poland, Italy, and France, also show a great interest in this area of science. Research on the topic is relatively recent. The first articles were published in 1991; therefore, it presents excellent opportunities that will quite possibly attract researchers and universities from different regions of the world.

Grosz, George (1893–1959)

2018 ◽  
Author(s):  
Barbara McCloskey
Keyword(s):  
United States ◽  
New York ◽  
World War I ◽  
Social Order ◽  
The United States ◽  
Early 20Th Century ◽  
World War ◽  
New Objectivity ◽  
Avant Garde ◽  
George Grosz

George Grosz was a leading artist of Germany’s early 20th-century expressionist, Dada, and New Objectivity movements. His works from this period remain celebrated examples of the modernist avant-garde. Grosz began his career as a student at the Dresden Academy of Art in 1909. In 1912, he moved to Berlin, abandoned the academic rigor of his earlier work, and became part of the Expressionist avant-garde. His paintings and drawings soon adopted the fractured planes, vivid color, and psychologically troubled content of Expressionist art. Grosz became politically radicalized by the outbreak of World War I in 1914. He helped to found Berlin Dada during the war years. His irreverent cut and paste Dada collages of this period assailed not only the concept of ‘‘art,’’ but also the vaunted notions of culture, militarism, and national pride that were part of a German social order Grosz had come to despise. At the end of World War I, Grosz joined the German Communist Party and became its leading artist. He fled to the United States in order to escape persecution after Hitler’s appointment as Chancellor in 1933. Grosz settled in New York, where he pursued his art under the utterly changed circumstances of exile.

5. The secret afterlife of silent film

2020 ◽  
pp. 107-118
Author(s):  
Donna Kornhaber
Keyword(s):  
United States ◽  
Silent Period ◽  
The United States ◽  
Silent Film ◽  
First Century ◽  
Film Exhibition ◽  
Avant Garde ◽  
Early Twenty ◽  
Animated Films ◽  
Transition To Sound

The year 1929 is often seen as marking the end of silent film. “The secret afterlife of silent film” questions this date, demonstrating how that year only signaled the end of production in major studios in the United States. Once the technology for synchronization and amplification became available, the transition to sound in the motion picture industry was smoother than is often depicted. Silent film production continued in pockets around the globe until nearly the middle of the century, as did silent film exhibition. Elements of silent film persist even in the early twenty-first century, from avant-garde to animated films. Silent film is still beloved by critics and cinephiles, and the innovations of the silent period arguably contribute to the ongoing appeal of cinema itself.

Ligeti in Fluxus

2004 ◽  
Vol 21 (2) ◽  
pp. 201-240
Author(s):  
Eric Drott
Keyword(s):  
United States ◽  
Contemporary Music ◽  
The United States ◽  
New Music ◽  
Avant Garde ◽  
Gyorgy Ligeti ◽  
General Dynamic

During a brief period in the early 1960s, Fluxus, a neo-avant-garde group active in the United States, Europe, and Japan, engaged the unlikely participation of Gyorgy Ligeti. Ligeti's three contributions to Fluxus publications-the Trois Bagatelles for David Tudor (1961), Die Zukunft der Musik-eine kollektive Komposition (1961), and Poèème Symphonique for 100 metronomes (1962)-proved both compatible with and divergent from the general ideology and aesthetic of Fluxus. Central to the consideration of Ligeti's Fluxus pieces is the contentious relationship that existed between experimental and modernist branches of new music at the time. Ligeti's flirtation with more experimental forms of composition not only reflects the general dynamic of this relationship but also illuminates how Ligeti positioned himself within the field of European contemporary music ca. 1960 and in subsequent years.

POLITICAL ATHEISM: THE SECULARIZATION AND LIBERALIZATION OF AMERICAN PUBLIC LIFE

2018 ◽  
Vol 17 (1) ◽  
pp. 249-277 ◽  
Author(s):  
DAVID SEHAT
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Republican Party ◽  
Public Reason ◽  
Public Life ◽  
The United States ◽  
Overlapping Consensus ◽  
Avant Garde ◽  
The Past

The United States is a deeply Christian country, but over the last sixty years American public culture has become increasingly detached from religious concerns. Christian activists, when not speaking within the Republican Party, have had to assert their privilege in a way that they never had to do in the past. In spite of their efforts, the role of Christianity in culture and politics has seen a more or less continuous decline. This essay examines how and why that process occurred. It puts forward a schematic narrative that relies on the concepts of public reason, the avant-garde, and an overlapping consensus to explain how different people came together in the mid-twentieth century to secularize and liberalize American public life.

Visualizing Music in the Silent Era: The Collaborative Experiments of Visual Symphony Productions

2018 ◽  
Vol 12 (1) ◽  
pp. 2-36
Author(s):  
MARY SIMONSON
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
New York Times ◽  
The United States ◽  
Visual Interpretation ◽  
Avant Garde ◽  
Sound Image ◽  
The Relationship ◽  
Silent Era

AbstractIn July 1922, the New York Times reported that the “encouraging little film” Danse Macabre was screening at the Rialto Theater in New York City. Directed by filmmaker Dudley Murphy, it starred dancers Adolph Bolm and Ruth Page in a visual interpretation of Saint-Saëns's Danse Macabre that synchronized perfectly with live performances of the composition. While film scholars have occasionally cited Danse Macabre and Murphy's other shorts from this period as examples of early avant-garde filmmaking in the United States, discussions of the films are mired in misunderstanding. In this article, I use advertisements, reviews, and other archival materials to trace the production, exhibition, and reception of Murphy's Visual Symphony project. These films, I argue, were not Murphy's alone: rather, they were a collaborative endeavor guided as heavily by musician and film exhibitor Hugo Riesenfeld as by Murphy himself. Recast in this way, the Visual Symphony project highlights evolving approaches to sound–image synchronization in the 1920s, the centrality of theater conductors and musicians to filmmaking in this period, and the various ways in which filmmakers, performers, and exhibitors conceptualized the relationship between music and film, and the live and the mediated, in the final decade of the silent era.

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