Ṣalat al-Fann al-Ḥadith al-Ālamı (Art Moderne International) (established Damascus, Syria, 1960)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Modern Art ◽  
Art Gallery ◽  
Intellectual Activity ◽  
Talent Search ◽  
Applied Fields ◽  
Modern Artists

Ṣalat al-Fann al-Ḥadīth al-fiĀlamı (Gallery of International Modern Art, or Art Moderne International (AMI)) was the first private art gallery in Syria. Launched by brothers Muhammad and Mahmoud Daadoush in Damascus in October 1960, the gallery served as a social hub for artistic and intellectual activity and a promotional office for Syria’s modern artists. It was centrally located in Yusuf al-Azmeh Square and provided a range of artistic services: biweekly exhibitions, literary evenings, and publicity stunts such as a talent search for an artist’s "muse," as well as work in the applied fields of décor, advertising, and printing.

Achimota School

2018 ◽  
Author(s):  
Rhoda Woets
Keyword(s):  
Teacher Training ◽  
Art Education ◽  
Modern Art ◽  
Art Teachers ◽  
Gold Coast ◽  
Visual Artists ◽  
Art Forms ◽  
New Ideas ◽  
Modern Artists ◽  
Training Department

The majority of Ghana’s modern art pioneers received their art education at Achimota School on the Gold Coast, now Ghana. Achimota School contributed in an important way to the formation of modern art in Ghana. Students trained at the Achimota Teacher Training Department spread new ideas about art and art education at the schools where they later worked. The discursive fields, in which modern visual artists came to discuss their work following independence, were embedded in a colonial past where European art teachers at Achimota had positioned African tradition as both preceding and opposed to modernity. Just like the art teachers at Achimota, modern artists deeply admired "primitive art" and considered local art forms to have roots stretching into a timeless past. Modern artists were, in this regard, influenced by their education at Achimota School as well as by nationalist ideologies that fostered pride in an African cultural past. Among the school’s most notable students are Oku Ampofo (1908–1998), Ernest (Victor) Asihene (1915–2001), Amon Kotei (1915–2011), Saka Acquaye (1915–2007), Kofi Antubam (1922–1964), Theodosia Akoh (1922), and Vincent Kofi (1923–1974).

Roy, Jamini (1887–1972)

2018 ◽  
Author(s):  
John Xaviers
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Art Object ◽  
Folk Traditions ◽  
Collection Process ◽  
Colonial Art ◽  
Art Collection ◽  
Multiple Copies ◽  
Modern Artists

Jamini Roy is considered one of the most important modern artists of pre-independent India. While proficient in Western academic realism, he completely rejected the style to adopt folk traditions such as the Kalighat patua. He mass-produced his folk-like paintings in a guild or kharkhana in order to reject the uniqueness of the modern art object, and to democratize the art collection process (he rejected bourgeois taste and buying habits). Roy invented his own folk-inspired form as an anti-colonial visual idiom. While an agnostic, he deliberately painted Indian religious or mythological themes as an antidote to the ideas of colonial art education. Adamant about the use of homegrown art materials, Roy often used tempera with tamarind glue as a binder. Roy painted Christian themes to test his ideas, and to see if the folk schema that he developed in his workshop could be used successfully in non-Indian religious contexts. Roy simplified his curvilinear painting method to such an extent that the indexical mark of his brush strokes could be replaced with the reproducibility of a schema in an art workshop. Such simplification has resulted in an upsurge of Jamini Roy replications. This, however, is a problem largely in the eyes of collectors, who hold the very bourgeois art ethos that Jamini Roy rejected while mass-producing multiple copies of his works.

Sabri, Atta (1912–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Modern Art ◽  
Fine Art ◽  
Museum Of Modern Art ◽  
National Museum ◽  
World War ◽  
Founding Member ◽  
Plastic Arts ◽  
Modern Artists

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

scholarly journals Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century

2004 ◽  
Vol 17 (4) ◽  
pp. 423-466 ◽  
Author(s):  
Linda Dalrymple Henderson
Keyword(s):  
Cultural Context ◽  
Modern Art ◽  
Critical Role ◽  
Art And Science ◽  
Radical Innovations ◽  
Science And Art ◽  
The 1960S ◽  
Relationship Of ◽  
Modern Artists ◽  
The Relationship

This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field.

The Cuban Avant-Garde and the International Art Community

2019 ◽  
pp. 82-97
Author(s):  
Ramón Cernuda
Keyword(s):  
New York ◽  
Modern Art ◽  
Art Market ◽  
Museum Of Modern Art ◽  
Avant Garde ◽  
Cuban Art ◽  
The Core ◽  
Two Generations ◽  
Art Community ◽  
Modern Artists

Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.

Bauhaus

2018 ◽  
Author(s):  
Anja Baumhoff ◽  
Susan Funkenstein
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Total Work ◽  
Paul Klee ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Modern Artists ◽  
The City ◽  
Walter Gropius ◽  
Art Schools

In 1919 a young architect named Walter Gropius initiated one of the most modern art schools of the twentieth century in the city of Weimar in Thuringia, Germany. He called it the Bauhaus. Its unusual name can be translated as "building hut," indicating its connection with the medieval tradition of cathedral building and the idea of a total work of art. The Bauhaus is not only famous for its ideas or its buildings in Weimar and Dessau but also for its members, among them the three directors of the school—the architects Walter Gropius (1919–1928), Hannes Meyer (1928–1930), and Mies van der Rohe (1930–1932). Teachers included renowned modern artists such as Lyonel Feininger, Vassily Kandinsky, Paul Klee, László and Lucia Moholy-Nagy, Herbert Bayer, Marcel Breuer, Wilhelm Wagenfeld, Anni und Josef Albers, Oskar Schlemmer, Marianne Brandt, and Gunta Stölzl. All of them endorsed modernism at a time when modern art and abstraction was far from being accepted—contemporaries understood it first of all to be a post-war rebellion similar to the then notorious Dada movement. The overall aim of the Bauhaus was to redefine fundaments of composition and construction as well as the use of colors.

Peepshow, Death Camp, Art Gallery: The Spaces of Pasolini’s Salò and Mauri’s Intellettuale

2019 ◽  
Vol 63 (1) ◽  
pp. 64-82
Author(s):  
Olga V. Solovieva
Keyword(s):  
Modern Art ◽  
The Body ◽  
Body Art ◽  
Museum Of Modern Art ◽  
Pier Paolo Pasolini ◽  
Art Gallery ◽  
Western Art ◽  
Death Camp ◽  
The 1960S

Fabio Mauri’s performance Intellettuale, set in the context of the opening of Leone Pancaldi’s new building for the Museum of Modern Art in Bologna, summed up a life-long collaboration and controversy between Pier Paolo Pasolini and Mauri about the fate of Western art after WWII. In the context of Pancaldi’s building, Intellettuale throws into relief the cultural and ideological project of Pasolini’s filmmaking and its relation to the body art of the 1960s–’70s.

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