scholarly journals Development of the idea of art synthesis in European culture of the XIX–XX centuries

2021 ◽  
pp. 1-19
Author(s):  
Anna Nikiforova
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Modern Art ◽  
Visual Language ◽  
Artistic Expression ◽  
Art Nouveau ◽  
Avant Garde ◽  
European Culture ◽  
Perception Of Time ◽  
And Performance

This article is dedicated to examination of art synthesis as a phenomenon that extended to various spheres of culture and art of the XIX–XX centuries. This period marks the emergence of a different visual language and new forms of perception of artistic expression. Analysis is conducted on the  forms of implementation of the idea Gesamtkunstwerk, and their development throughout the XX century: mythologization as a peculiar method of thinking, strive to go beyond the purely artistic imagery, subjectification of the perception of time and space, creation of the organized aesthetic environment, aesthetic dimension of humanism, synthetism of mentality and universalism of the artist. Special attention is given to the historical-cultural context, from the views of the Jena Romantics and musical theory of R. Wagner to the works of the masters of Art Nouveau, avant-garde and innovators of the theatrical scenery. The author also reviews the advent of the new forms of artistic expression. The analysis of the key trends allows determining the broad sense of the idea of art synthesis for the culture: philosophy, poetry, architecture, visual arts, design, and performance. The novelty of this study consists in description of the idea of art synthesis as one of the key meaning-forming factors in the European culture of the XIX–XX centuries. The article examines the problem of performativity of modern art as the logical continuation of the evolution of forms of artistic expression. Modern theatrical and performative practices (“live” exhibitory spaces, “museum of senses”, “theater of plentitude”, exploratory theater, promenade theater, and other) can be viewed as the reconceived version of the idea of art synthesis that originated in the culture of German Romanticism.

Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya

2021 ◽  
Vol 5 (2) ◽  
pp. 59-68
Author(s):  
Mohamad Kamal Abd Aziz ◽  
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Visual Art ◽  
Modern Art ◽  
Secondary Research ◽  
Changing Trends ◽  
Art Historians ◽  
Postmodern Art ◽  
Art And Culture ◽  
Art Critics

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.

scholarly journals The feminist avant-garde and feminaissance in american poetry and the visual arts

2021 ◽  
Vol 69 (2) ◽  
pp. 275-287
Author(s):  
Dubravka Djuric
Keyword(s):  
Visual Arts ◽  
Cultural Production ◽  
Experimental Poetry ◽  
Verbal Art ◽  
Performance Practices ◽  
Avant Garde ◽  
Radical Feminist ◽  
Performance Artists ◽  
The Us ◽  
And Performance

In this article, I will discuss the appearance and meaning of the terms feminist avant/garde and feminaissance. I will point to the differences in the mediums of these two fields of cultural production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women?s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.

scholarly journals Methodological basis of the «Entertainment» phenomenon within the postmodern discourse

2020 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Visual Culture ◽  
Analytical Method ◽  
Cultural Context ◽  
Semantic Content ◽  
Avant Garde ◽  
Methodological Basis ◽  
The Past ◽  
European Culture ◽  
First Time

The purpose of the article consists of the determination of the methodological basis of the phenomenon of "Entertainment" in the discourse of postmodernism. The research methodology consists in the application of the analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of "Entertainment" in the discourse of postmodernism; the hermeneutic method - for the interpretation of the semantic content of the phenomenon of "Entertainment" in the context of the theories of post-structuralists and post-Freudians in the discourse of postmodernism; we use the historical and cultural method to investigate holistic images-concepts of the phenomenon of "Entertainment" in Western European culture in the discourse of postmodernism. The scientific novelty of the work is that for the first time the essence of the phenomenon of «Entertainment» in the theories of post-structuralists and post-Freudians in the discourse of postmodernism. Conclusions. The phenomenon of "Entertainment" begins to be seen as a form of manifestation of visual culture in the discourse of postmodernism, this phenomenon does not reflect reality but simulates this reality through experiments with artificial reality. Each context has exhaustive possibilities for its reading and interpretation, any element of artistic language can be used in another - social, political and cultural - context, or it can be influenced outside the framework of any context, which in a vivid way became the basis of the phenomenon of "Entertainment" (J. Derrida); «Entertainment» is a form of ironic rethinking in the aspect of the response to postmodernism to the avant-garde, on the recognition of the impossibility of destroying the heritage of the past and a call for an ironic rethinking of this past (R. Rorty); the essence of «Entertainment» is the process of combining already existing art forms (J. Baudrillard); - all aspects vividly prove that the philosophical concepts of R. Barthes, J. Baudrillard, J. Delioz, F. Guattari, F. Jameson were the methodological basis of the phenomenon of «Entertainment» in the discourse of postmodernism.

scholarly journals The cultural concept of contemporary performance art

2018 ◽  
pp. 73-83
Author(s):  
Anica Arsic
Keyword(s):  
Performance Art ◽  
Artistic Expression ◽  
Avant Garde ◽  
Cultural Paradigm ◽  
Theoretical Approaches ◽  
Art Form ◽  
Basic Characteristics ◽  
And Performance ◽  
The 1960S ◽  
Term Performance

If the ontological meaning of the term performance were directed towards the overall creativity in the culture of mankind, then it might be concluded that the performance is the oldest form of artistic expression. This term, however, can not be placed on the same level with the term performance art, which defines special avant-garde art form. It was founded in the 1960s as a protest against the institutionalized art, as a movement for the liberation of art and artists from the imposed forms and clich?s. Performance Art is a work that has no defined shape, with fluid borders and ready to open for cooperation with other forms of cultural creativity. One of its main features is interactivity. Performance Art is an omnipresent cultural paradigm, which monitored and is still monitoring the social thoughts development. This layered and comprehensive art form is in constant movement, making possibilities for the analysis and theoretical approaches inexhaustible. This paper presents the basic characteristics of Performance Art as the established form of artistic expression in the XXI century and conceptual differences between the performance and Performance Art.

scholarly journals European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956

2021 ◽  
pp. 1-16
Author(s):  
Frances Tanzer
Keyword(s):  
Cultural Diversity ◽  
European Integration ◽  
Visual Arts ◽  
Modern Art ◽  
European Culture ◽  
National Heritage ◽  
The Holocaust ◽  
Post War ◽  
Venice Biennale

This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

Dance Imagery for Technique and Performance

2014 ◽  
Author(s):  
Eric Franklin
Keyword(s):  
Deep Understanding ◽  
The Body ◽  
Artistic Expression ◽  
Contemporary Dance ◽  
Improve Technique ◽  
Dance Class ◽  
Dance Improvisation ◽  
Dance Imagery ◽  
And Performance ◽  
Dance Educators

Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.

The Cultural Context of Reception:

2012 ◽  
Vol 3 (2) ◽  
pp. 38-55
Author(s):  
Riikka Korppi-Tommola
Keyword(s):  
Cultural Context ◽  
Theoretical Framework ◽  
High Expectations ◽  
Cultural Contexts ◽  
Avant Garde ◽  
Cultural Perspectives ◽  
The Past ◽  
Dance Company ◽  
Merce Cunningham ◽  
Encounter Time

Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

Sign in / Sign up

Export Citation Format

Share Document