Vigo, Abraham (1893–1957)

2018 ◽  
Author(s):  
Patricia Andrea Dosio
Keyword(s):  
Communist Party ◽  
Buenos Aires ◽  
Art Market ◽  
Health Problems ◽  
Artistic Practice ◽  
Traditional Art ◽  
Avant Garde ◽  
Clear Image ◽  
Written Word ◽  
Popular Audience

Abraham Regino Vigo was one of the most talent artists of the first avant-garde in Buenos Aires. He was born in Montevideo, Uruguay, but at the age of 12 started working with his father, a painter and decorator, in Buenos Aires. He studied painting in the Sociedad Estímulo de Bellas Artes like his father. During his career, Vigo exhibited individually and with a socially compromised group of artists, receiving several awards and prizes. Due to health problems, in 1939 he settled in Mendoza and a year later, became an Argentine citizen and, as member of the Communist Party, announced his candidacy in provincial deputy race. When Vigo returned to Buenos Aires, he worked mostly as engraver. His articulation between artistic practice and political militancy represented a modernist feature in local art. More than any other medium, Vigo employed graphic techniques, such as woodcuts, etching, and drawing. Most of his works were illustrations in magazines, newspapers, and low price book editions. Engraving enables the circulation of the images not only in the context of written word but also among popular audience. Vigo’s aimed at a clear image, reproducible, easy to read by workers and separated from the traditional art market.

scholarly journals Inji Efflatoun: White Light

2020 ◽  
pp. 33-44
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
White Light ◽  
Political Action ◽  
Family Law ◽  
The Body ◽  
Political Prisoner ◽  
Artistic Practice ◽  
Avant Garde ◽  
Central Aspect ◽  
Gamal Abdel Nasser

The Egyptian artist Inji Efflatoun (1924-1989) is widely recognized as a major avant-garde figure in Egyptian modernist history as well as a feminist activist who petitioned for women’s suffrage, amendments to family law, and for worker’s rights. Perhaps most famously, she was among the first cohort of women to be arrested as a political prisoner; she served a four-year sentence under President Gamal Abdel Nasser for her work with the Egyptian Communist Party (1959-1963). Most scholarship on Efflatoun has followed the artist’s autobiographical narrative in treating the artist’s dual activities – political action and artistic practice – as essentially opposed. This essay proposes an adjustment to this frame, arguing instead for recognizing the artist’s theoretically-informed response to gendered somatophobia (fear of the body) as a central aspect of both commitments. The essay examines the darkness of Efflatoun’s early surrealist paintings as a pairing with the «white light» of her 1970s paintings, thereby revealing the artist’s ongoing inquiry into possibilities for kinship based on copresence rather than appearance.

ISSUES OF ETHNOCULTURAL TRADITIONS DEVELOPMENT IN MODERN ARTISTIC PRACTICE

2020 ◽  
Vol 1 (4) ◽  
pp. 50-54
Author(s):  
K. K. Murataev ◽  
◽  
S. M. Krykbayeva ◽  
Keyword(s):  
Folk Art ◽  
Structural Features ◽  
Artistic Practice ◽  
Creative Development ◽  
Traditional Art ◽  
Spatial Features ◽  
Applied Art ◽  
Main Components ◽  
Structurally Stable ◽  
Figurative Interpretation

The article deals with insufficiently studied theoretical aspects of revealing and analyzing new elements and motives of artistic and compositional means of expression in folk art, as well as topical issues concerning determining principles and possible options for their creative development in modern decorative and applied art, design, and artistic practice in general. The most important structural features of shaping in traditional art in the ontologically interrelated system "nature — man — object" are analyzed. The main structurally stable elements and components in Kazakh folk ornament are distinguished and characterized, these are the circle, S-shaped element, cruciform and triangular components. The evolution of their ideological and figurative interpretation and symbolism is traced, and their role in the genesis of folk art traditions formed over thousands of years is revealed. The selected basic elements of folk ornament, as the main components of means of artistic expression, are proposed to be defined and developed in line with modern interpretations of artistic and aesthetic categories — dynamics, statics, harmony and their decorative variations in accordance with the volumetric and spatial features of form.

scholarly journals SPACE AS A CONTEXT IN DANIEL BUREN’S ART

2021 ◽  
Vol 11 (1) ◽  
pp. 301-322
Author(s):  
Tuğba RENKÇİ TAŞTAN
Keyword(s):  
World War Ii ◽  
Conceptual Art ◽  
World Order ◽  
Art World ◽  
Artistic Practice ◽  
Innovation Development ◽  
Traditional Art ◽  
The Social ◽  
Art Scene ◽  
The 1960S

20th century; it is a period in which two world wars took place and a new world order in human history occurred in many areas of innovation, development and transformation. After the war, the meaning, content and boundaries of art and the artist have been discussed, expanded and gained a new dimension and acceleration with the deep changes in the social, economic, political and cultural fields with the crisis brought on by the war. This complex period also manifested itself in the traditional art scene in France. The French artist Daniel Buren (b. 1938) has witnessed this process; by adopting the innovations in art with his productions, he has demonstrated his space-oriented conceptual works dating back to the present day in a period in which daily life accelerates with the mechanization of art practice and conceptual art movements are in succession. In this article, in order to comprehend the point of the artist and his productions from the beginning until today; the cultural environment in France after the World War II, the developments in the art world, the changes in the social field and the artistic dimensions of these changes are mentioned. The development and practices of the French artist Daniel Buren's artistic practice, policy, artistic attitude and style for the place, architecture, workshop and museum in the period from the second half of the 1960s to the present day are examined with examples with certain sources. In this context, the views and concepts that the artist advocates with his original productions are included. Finally, in the research, the evaluations were made in line with the sources and information obtained about the art adventure and development of the artist, and the innovations, contributions and different perspectives he offered about the art are discussed.

Presenting the Unpresentable: Jean-François Lyotard’s Kantian Art-Sublime

2021 ◽  
pp. 1-17
Author(s):  
Rachel Zuckert
Keyword(s):  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
The Sublime ◽  
The Absolute

Abstract This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

Ultraísmo

2018 ◽  
Author(s):  
Dagmar Vanderbosch
Keyword(s):  
Buenos Aires ◽  
Cultural Distance ◽  
Jorge Luis Borges ◽  
Spanish America ◽  
Spanish American ◽  
American Modernism ◽  
Avant Garde ◽  
Vicente Huidobro ◽  
Short Period ◽  
Guillermo De Torre

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme. The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.

Entartete Kunst

2018 ◽  
Author(s):  
Amy Kelly Hamlin
Keyword(s):  
Third Reich ◽  
Abstract Art ◽  
Paul Klee ◽  
Traditional Art ◽  
Avant Garde ◽  
The Third ◽  
Art Forms ◽  
Degenerate Art ◽  
The Third Reich

Entartete Kunst (Degenerate Art) is a term that was used by Nazi authorities to identify, censure, and confiscate art they considered inconsistent with their ideology. It was the cornerstone of an ambitious propaganda campaign that culminated in the exhibition Entartete Kunst, which took place in Munich in 1937. The majority of this so-called degenerate art was Avant-Garde in both form and subject. Abstract Art by German artists, including Max Beckmann, Max Eernst, Ernst Ludwig Kirchner, Paul Klee, and Franz Marc, was particularly vulnerable to Nazi attack; non-German artists such as Vasily Kandinsky and Piet Mondrian were also singled out. As a polarizing concept, Entartete Kunst stems from an essentially anti-modernist, xenophobic and anti-Semitic position. It was designed to legitimize the art of the Third Reich, which was rooted in traditional art forms and characterized by an idealized naturalism that promoted heroic virtues and racial purity.

scholarly journals Forming the Legal Avant-Garde: A Theory of Art/Law

2019 ◽  
pp. 174387211987183
Author(s):  
Lucy Finchett-Maddock
Keyword(s):  
Ways Of Knowing ◽  
Theory And Practice ◽  
Artistic Practice ◽  
Avant Garde ◽  
Legal Studies ◽  
Political Aesthetics ◽  
Legal Thinking ◽  
End Of Art ◽  
Legal Aesthetics

This piece seeks to account for an increased interest in the intersection of art and law within legal thinking, activism and artistic practice, arguing there to exist the phenomena and movement of ‘art/law’. Art/law is the coming together of theory and practice in legal and political aesthetics, understood as a practice, (im)materially performed. It is seen as a natural consequence of thinking law and resistance in terms of space and time, accounting for a turn towards the visual, the practical and the role of affect, within ways of knowing. Art/law is a symptom of the end of art and end of law, synchronically rendered. Divisions between legal and aesthetic form have been well rehearsed within legal aesthetics scholarship, from law and literature, to critical legal studies’ work with images, text and performativity, and now law’s Anthropocene. Art/law as a practice, however, is argued as an emergent onto-epistemic-ethics of necessity, a movement of seeing, being and knowing in response to the advancement of spectacle. It is the simultaneous reunion of law, art and resistance as one, breaking down the institutional artifice of art worlds and law worlds, offering a form of ‘resistant (in)formalism’, that accounts for matter and change and asserts convergence as a medium. It is an inclusion of the uncertain and the disordered, that is an opening for the audience. This resistant (in)formalism describes the role of form, audience and practice within property, legal and aesthetic establishment, offering a countering of separatism at the end of art and the end of law, through a praxeology of art/law in seeing, thinking and action.

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