Modern Art and Design in 1930s Britain

2011 ◽  
Author(s):  
Paul Rennie
Keyword(s):  
Modern Art ◽  
Art And Design

Grosvenor School of Art, London (1925–1940)

2018 ◽  
Author(s):  
Juliette Peers
Keyword(s):  
New Zealand ◽  
British Empire ◽  
Interwar Period ◽  
Modern Art ◽  
Art And Design ◽  
The Social ◽  
Social Elites ◽  
Art School

The Grosvenor School of Art, also known as the Grosvenor School of Modern Art, was founded in 1925 by Scottish artist and printmaker Iain McNab. In 1940, it merged with the more traditional Heatherley’s Art School, which is still operating in London. The Grosvenor was famous across Britain and the British Empire in the interwar period for promoting modernist art and design. Its contribution to introducing and acclimatizing continental modernism to an extended anglophile audience was substantial. Pupils came from Canada, Australia, and New Zealand, as well as other countries, and through them the experience of modernism was brought back to their homelands. Across the British Empire, the Grosvenor School made modernism acceptable and praiseworthy, representing the authority of what Australian artist Arthur Streeton called "the Centre of Empire," combined with the glamorous social cachet that London symbolized for the social elites in the colonies.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

scholarly journals Crimean Tatar Ornament in Modern Art and Design

2021 ◽  
Vol 4 (1) ◽  
pp. 93-103
Author(s):  
Liliana Vezhbovska
Keyword(s):  
Visual System ◽  
Modern Art ◽  
Semiotic Analysis ◽  
National Cultures ◽  
Modern Culture ◽  
Art And Design ◽  
Modern Times ◽  
Communicative Ability ◽  
Cultural Dialogue ◽  
Crimean Tatar

The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.

SYSTEM OF ARCHAIC SIGNS-SYMBOLS IN THE ORNAMENTS OF THE MESENA SPINNING ROTARY

2021 ◽  
Vol 23 (77) ◽  
pp. 70-75
Author(s):  
A.A. Zhogolevа ◽  
◽  
E.G. Stolyarova
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Ancient Greece ◽  
Traditional Culture ◽  
Single System ◽  
Present Stage ◽  
Art And Design ◽  
The World ◽  
History Of ◽  
The Subject

The article is devoted to the study of the symbols of the Mezen painting as a single system. The spinning wheel is viewed as a cosmogonic model of our ancestors, where painting is directly related to the content of the image. The object of the research is the archaic symbols of the Mezen painting. The subject is the development of ornaments and prints for decor and product design. The history of the Mezen craft (geography, origins, traditions), the artistic features of the craft (materials, technology) and the semantics of the ornament are studied. The article considers archaic ornaments of Mezeno in connection with the ancient cultures of mankind (the Neolithic era, Andronov culture, Ancient Greece, etc.) and Slavic traditional culture. The article deals with deciphering the semantics of the ornament of the Mezen spinning wheel as a reflection of the idea of the world of our ancestors. The author's development "The symbolism of the Mezen painting in contemporary art" is given, showing the possibility of using the Mezen ornament at the present stage of the development of artistic culture in art and design. The authors of the article propose to use the ornaments and symbols of Mezeno as decor and prints in modern art and design.

Nwoko, Demas (1935--)

2018 ◽  
Author(s):  
P.E. Christopher Shaw ◽  
Amber Croyle Sijuwade
Keyword(s):  
Modern Art ◽  
Fine Art ◽  
British Colonialism ◽  
Artistic Practice ◽  
Art Students ◽  
Philosophical Approach ◽  
Building Projects ◽  
Art And Design ◽  
Adam And Eve ◽  
Modern Building

Across the spectrum of fine art and design, Demas Nwanna Nwoko has made his mark as a central contributor to a neo-traditionalist philosophy at the foundation of Nigerian modern art. Nwoko began his formal studies at the Nigerian College of Art, Science and Technology, Zaria, in 1957 and soon joined fellow art students Uche Okeke and Bruce Onobrakpeya in founding the Zaria Arts Society (Zaria Rebels) in 1958. Forming an intellectual framework dubbed "natural synthesis", the Rebels cultivated a deep knowledge of indigenous artistic forms, defining a culturally independent artistic practice that would accompany Nigeria’s impending independence from British colonialism. To this end, Nwoko’s earliest paintings, including Ogboni Chief (1960) and Praise Singer (1960) highlight the subjects of everyday Nigerian life. His sculptural works, like Adam and Eve (1965), draw studied inspiration from the Nok terracotta heads of 300 BC. The same philosophical approach remains central to Nwoko’s architectural work, for which he is most widely known. The first of his building projects, The New Culture Studio and Residence (1967–) provides both an aesthetic example of Nigerian-centered design and an ideological home from which his theatrical works and New Culture Magazine (1978–1979) were produced. His most renowned site, the Dominican Institute, Ibadan (1970–1975), exemplifies innovation in the use of modern building methods grounded in indigenous expression.

The Linocuts of Ethel Spowers: A Vision Apart

2020 ◽  
Vol 15 (3) ◽  
pp. 354-376
Author(s):  
Lorraine Sim
Keyword(s):  
Positive Affect ◽  
Everyday Life ◽  
Modern Art ◽  
Social Alienation ◽  
Modern Life ◽  
American Modernism ◽  
Art And Design ◽  
Critical Attention ◽  
Anglo American

This essay discusses the colour linocuts of the Melbourne-born artist and illustrator Ethel Spowers. Although Spowers was a key figure in modern art and design in Australia during the 1920s and 1930s, to date her linocuts have received little critical attention and are appraised only briefly and collectively as part and parcel of the Grosvenor School of Modern Art in London, where she studied for several months under the guidance of Iain Macnab and Claude Flight. This essay argues that her modernism provides an important contrast and supplement to accounts of modern everyday life offered by her British and European colleagues at the School, and canonical British and Anglo-American modernism more generally. Rejecting a view of modern life defined in terms of homogenisation, social alienation and adult experience, I discuss how Spowers's rhythmic compositions express choreographies of community and positive affect, and focus on the experience of children.

scholarly journals Beginning of Typographic Installation and Contemporary Graphic Creativity

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Selma Kozak
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Modern Art ◽  
Hybrid Form ◽  
Art And Design ◽  
Early 21St Century ◽  
Text Type ◽  
Avant Garde ◽  
Art Practices ◽  
Almost All

Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary artwork examples, design arts, installations and conceptual art movements blurred the boundaries between art and typograph. Especially artists and designers started to use typography in their personal expressions as a post-modern art strategy and, as a result, typography became a hybrid form to assess in 21st century art practices and also a raison d’être to convey idea, thought and message. In this paper, by using the descriptive method, I will focuse on the relationship between typographic installation and contemporary graphic creativity. In this regard, evaluating Beatrice Warde’s philosophy along with the samples of typographic installation of artists such as Sheila Levrant de Bretteville, Stephen Doyle, Barbara Kruger etc. and a special museum Deportee Memorial Museum Carpi, will be helpful in order to compare the changes in the past and present approaches in typographic applications and it will be useful in order to understand today’s graphic creativity.

The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

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