Feminist theoretical and visual challenges to modernist representation

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Art History ◽  
Male Gaze ◽  
Avant Garde ◽  
Alternative Distribution ◽  
Critical Responses ◽  
Discourse Formation

The international and local feminist avant-garde of the 1970s is discussed in Chapter 6. Vancouver women’s rejection of canonical art history, their development of alternative distribution and exhibition systems for promoting artwork, and their psychoanalytic critique of the male gaze all implicitly challenged the legitimacy of the theoretical and historical project of Vancouver photo-conceptualism. These threats would thus be selectively integrated into the new male-authored photography. Historical and contemporary critical responses to Marian Penner Bancroft and Liz Magor’s work are also analysed, which through contrary-example further establishes the male-gendered character of avant-garde discourse formation in Vancouver.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

scholarly journals The notion and meaning of interdisciplinarity in the studies of art and media

2012 ◽  
Vol 4 (2) ◽  
pp. 196-211
Author(s):  
Nikola Dedić
Keyword(s):  
Social Sciences ◽  
Art History ◽  
Media Theory ◽  
Cultural Meaning ◽  
Avant Garde ◽  
Linguistic Turn ◽  
Elite Culture ◽  
Interdisciplinary Approaches ◽  
The Difference ◽  
Definition Of

This text attempts to mark the difference between traditional, modern, monodisciplinary and contemporary interdisciplinary approaches within the analysis of reception of media and artistic contents. Monodisciplinary approaches are connected with the classical basis of humanistic and social sciences which are related to the definition of culture based on opposition between mass and elite culture (art). Avant-garde and linguistic turn within social sciences in the 60s realized re-evaluation of the notion of culture-culture is not seen anymore as a sum of elite products of human spirit but rather as a production of cultural meaning, i.e. as a discourse. This turn enabled interdisciplinary turn within the sciences as aesthetics and art history and also enabled the emergence of contemporary interdisciplinary media theory.

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.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

scholarly journals The specifics of the creative representation of classical and modern texts in the direction of A. Prikhodko

2021 ◽  
Author(s):  
Iryna Ivashchenko ◽  
Viktoriya Strelchuk
Keyword(s):  
Art History ◽  
Cultural Analysis ◽  
Literary Texts ◽  
Semiotic Analysis ◽  
Avant Garde ◽  
Theatrical Space ◽  
Literary Source ◽  
Factors Of Influence ◽  
Structural Methods ◽  
Stage Composition

The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding. The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.

scholarly journals Open Fora

2020 ◽  
Vol 5 ◽  
pp. 139-155
Author(s):  
Vita Susak
Keyword(s):  
Art History ◽  
Three Dimensional ◽  
Visual Language ◽  
Urban Spaces ◽  
Avant Garde ◽  
Political Narratives ◽  
National Competition ◽  
Realistic Images ◽  
Universal Nature ◽  
Late Recognition

Just half a century ago, Malevich’s name was familiar to very few people. On a wave of international interest to the avant-garde, he became a world-famous artist. Kazimir Malevich (1879–1935) was born into a Polish family in Kyiv and created the Black Square (1915) in Moscow. These are the most important facts that todayallow three countries (Poland, Ukraine, and Russia) to consider him as their “own” artist. Art historians and curators actively research Malevich’s work, usually arguing that he belongs to the culture they themselves represent.This paper gives a brief overview of the discovery of Malevich in the West and of his late recognition in the USSR. It also deals with the growth of his popularity since the early 1980s, and provides examples of the current use of his name and work in cultural-political narratives. Malevich’s legacy has gone far beyond art history tobecome iconic in each of the three countries. Today the abstract visual language unseats realistic images due to its universal nature; pure abstract forms become incorporated with their three-dimensional configurations into urban spaces. Million-dollar prices at auctions encourage counterfeits, resulting in some huge scandals. Suprematist language is employed in a very broad range: from the tragic to the entertaining. Malevich becomes a “trump card” in national “decks.” It is precisely the international meaning of Malevich’s ideas that has caused national “competition” for this author.

Feminist Cringe Comedy: Dear Dick, The Joke Is on You

2018 ◽  
Vol 15 (1) ◽  
pp. 107-129
Author(s):  
Lori Marso
Keyword(s):  
Male Gaze ◽  
Female Desire ◽  
Avant Garde ◽  
Political Work ◽  
Feminist Community

AbstractFeminist cringe comedies eschew the conventions of romance and sentimentality in favor of comedy that discomforts. Cringe comedies are one example of what I call feminism's visual realisms, so named for doing feminist political work by evoking laughter and the cringe. The cringe pulls us inward in our posture, while laughter opens us to others. This bodily response to cringe comedies interrupts the fantasies of the male gaze and makes space for spectators to acknowledge the excessive, complicated, and seemingly shameful realities of female desire. My primary example is Jill Soloway's television adaptation of Chris Kraus's I Love Dick, a series that builds on the feminist legacy of avant-garde director Catherine Breillat. Departing from politically correct narratives and comforting or sentimental affect, I Love Dick achieves feminist community through the appeal, the cringe, and the irruption of laughter.

Our Lady of Art

2020 ◽  
pp. 121-142
Author(s):  
Thomas J. Ferraro
Keyword(s):  
Roman Catholic ◽  
Sexual Intimacy ◽  
Male Gaze ◽  
Same Sex ◽  
Expressive Culture ◽  
Avant Garde ◽  
The Senses ◽  
The Mind ◽  
Washington Square

Chapter 5 examines Willa Cather’s neglected story, “Coming, Aphrodite” in light of her fascination with the bodily presentation that Camille Paglia would later call “sexual personae”—for which Cather develops her own Marian interpretive sensibility, half Roman Catholic and half Pagan, as a deliberate counterforce to the Puritan heritage deflating U.S. artistic and expressive culture. In her twenties, Cather was a prodigious journalist fascinated by the radiant figurae of statuary, painting, drama, poetry, and fiction both home and abroad—which she interrogated in explicitly religious terms, with a particular affinity for both Marian-Catholic dissent from the Puritan denial of the senses and its alternative of graced intercession. Cather learns to invite readers to the redemptive power of forbidden love: sex for its own sake, adultery whether intermittent or sustained or only imagined, same-sex beatings of the heart and meetings of the mind. Then, in “Coming, Aphrodite!,” in a way more literal that her readers could possibly have expected, Cather stages the male gaze of an avant-garde, sexually disciplined and romantically impervious, young painter in Washington Square, Don Hedger, who finds himself in thrall—through a closet peephole!—to the artful exhibitionism in body and song of an equally ambitious, alternatively brilliant ingénue, Eden Bower. Their pas de deux produces a profound, profoundly mutual, yet never-to-be domesticated, sexual intimacy, non-reproductive but dually procreative—all of it conducted under signs of Roman Latinate and Indo-Latino Catholicism, including a story within the story entitled “The Forty Lovers of the Princess.”

scholarly journals A mentális rugalmasság idegtudománya

2017 ◽  
Vol 158 (45) ◽  
pp. 1771-1786
Author(s):  
Zoltán Janka
Keyword(s):  
Cognitive Neuroscience ◽  
Art History ◽  
Brain Structures ◽  
Anterior Cingulate ◽  
Inferior Parietal Lobule ◽  
Avant Garde ◽  
The Public ◽  
Mental Flexibility ◽  
Neurocognitive Tests ◽  
New Strategies

Abstract: Mental flexibility enabling shifts from the usual prepotent behaviour to new strategies and solutions is a significant factor in the successful adaptation to the changing environment. Components of mental flexibility comprise attention, salience detection, inhibition, working memory and switch processes which can be measured by neurocognitive tests. Data derived from examinations by the methods of cognitive neuroscience can be compared to the features, observed under resting state and during task performance, of brain structures and functions. Studying central nervous system correlates of mental flexibility by imaging, neurobiological, and pharmacological techniques revealed that certain cerebral regions (prefrontal cortex, anterior cingulate and insula, striatum, inferior parietal lobule) with their network connectivities, and some neurotransmitters (e.g. dopamine) have profound roles in this respect. Flexibility shares some similarities with artistic/scientific/everyday creativity and openness as a personality trait and this is also reflected in neurobiological parameters. According to precedents in art history, the public reception and acceptance of nonconform avant-garde artistic products are also dependent on flexibility and openness. Alterations of mental flexibility have been found in diseases (psychiatric and others), and in stress situations. Although flexible switch is generally considered as positive and beneficial, under certain conditions advantages might arise from keeping stability maintaining customs, conventions, and traditions. Orv Hetil. 2017; 158(45): 1771–1786.

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