Relevant bibliographies by topics / Modernism (Art)

Academic literature on the topic 'Modernism (Art)'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Modernism (Art)"

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Gralinska-Toborek, Agnieszka. "Nadawanie nowych znaczeń modernizmowi." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 18 (January 1, 2006): 3–18. http://dx.doi.org/10.18778/0208-6107.18.01.

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The contemporary vision of modernism, which is constructed from a point outside of that period, differs from the vision created by the participants and originators of modernism. One of the major problems encountered today is the one of the meaning of modernist works art. The extreme concept of "silent" and "pure" art followed by Clement Greenberg and other modernists has now found itself under criticism. The interpretations of many modern currents in art reveal attempts at identifying new content in works of art, which sometimes seems to be an act of assigning new meaning to art. Such interpretations can be observed in studies of impressionism, cubism, abstract expressionism and minimalism. The problem of meaning is the subject of study of such theorists as Timothy J. Clark, Patricia Leighten, Serge Guilbaut, Rosalind Krauss and W. J. T. Mitchell. Their research concentrates not as much on works of art as on modernists' vision of art. Mitchell shows how theory replaced the content of modernism art and proves that "silent" art is impossible since meanings arise independently of the artist's intention in the process reception. The new vision of modernism does not attempt to create a universal and objective model of that period but instead aims at a multiplication of meanings and at a destruction of the previous model (the holistic model). The vision of modernism comes to resemble a mosaic of unconnected elements.
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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.

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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and meant. It also suggests that the double agenda observed in Life – both satirical and didactic – might be a way of defining middlebrow magazines.
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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.
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Sharpe, Gemma. "Abstract States: Modernism in Lebanon, Syria, and Turkey." ARTMargins 13, no. 1 (February 1, 2024): 106–18. http://dx.doi.org/10.1162/artm_r_00375.

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Abstract A decade after modernist art history's tentative embrace of postcolonial modernisms, a new crop of books are leveraging this disciplinary acceptance to examine hitherto shrouded aspects of the field. Anneka Lenssen's, Beautiful Agitation: Modern Painting and Politics in Syria (2020), Zeina Maasri's, Cosmopolitan Radicalism: The Visual Politics of Beirut's Global Sixties (2020) and Sarah-Neel Smith's, Metrics of Modernity: Art and Development in Postwar Turkey, (2022) offer candid appraisals of postcolonial modernism's exposure to colonial and nationalist institutions, Cold War cultural networks, and the hierarchical effects of canonical modernism. Reviewed together in this article, these books reveal the distinctive orientations of modernism in contiguous Syria, Lebanon and Turkey along with the methodological value of formalist methods to assert artistic agency. Through refractive readings of artworks and other materials, Lenssen, Maasri and Smith invert disciplinary anxieties about postcolonial art's political subjection, making a case for postcolonial art's perceptiveness to the instability and abstraction of the institutional forces to which they are subject.
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Abd Aziz, Mohamad Kamal. "Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (October 7, 2021): 59–68. http://dx.doi.org/10.24191/ijad.v5i2.6.

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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.
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Akapng, Clement. "Contemporary Discourse and the Oblique Narrative of Avant-gardism in Twentieth-Century Nigerian Art." International Journal of Culture and Art Studies 4, no. 1 (April 28, 2020): 9–23. http://dx.doi.org/10.32734/ijcas.v4i1.3671.

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The history of Twentieth Century Nigerian art is characterized by ambiguities that impede understanding of the underlying modernist philosophies that inspired modern art from the 1900s. In the past five decades, scholars have framed the discourse of Contemporary Nigerian Art to analyze art created during that period in Africa starting with Nigeria in order to differentiate it from that of Europe and America. However, this quest for differentiation has led to a mono-narrative which only partially analyze modernist tendencies in modern Nigerian art, thus, reducing its impact locally and globally. Adopting Content Analysis and Modernism as methodologies, this research subjected literature on Twentieth Century Nigerian art to critical analysis to reveal its grey areas, as well as draw upon recent theories by Chika Okeke-Agulu, Sylvester Ogbechie, Olu Oguibe and Okwui Enwezor to articulate the occurrence of a unique Nigerian avant-gardism blurred by the widely acclaimed discourse of contemporary Nigerian art. Findings reveal that the current discourse unwittingly frames Twentieth Century Nigerian art as a time-lag reactionary mimesis of Euro-American modernism. This research contends that such narrative blocks strong evidences of avant-garde tendencies identified in the works of Aina Onabolu, Ben Enwonwu, Uche Okeke and others, which exhibited intellectual use of the subversive powers of art for institutional/societal interrogation. Drawing upon modernist theories as a compass for analyzing the works of the aforementioned, this paper concludes that rather than being a mundane product of contemporaneity, Twentieth Century Nigerian art was inspired by decolonization politics and constituted a culture-specific avant-gardism in which art was used to enforce change. Thus, a new modern art discourse is proposed that will reconstruct Twentieth Century Nigerian art as an expression of modernism parallel to Euro-American modernism.
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Rykov, Anatoly V. "The Quarrel of the Ancients and the Moderns and the Theory of Modernism." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 147–63. http://dx.doi.org/10.21638/spbu15.2022.107.

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This paper considers issues of convergence of classical and modernist art theories on the example of the so-called Quarrel of the Ancients and the Moderns at the turn of the seventeenth and eighteenth centuries. The works of the main participants in this debate, Charles Perrault and Nicolas Boileau, are examined in the context of the theory of modernism and questions of the origin of modernist art. The aggravation of the contradictions between the two versions of the theory of classicism and, more broadly, the two concepts of modernity, led to the formation of new views on the nature of art in the era of late Louis XIV. The leader of the “Moderns,” Charles Perrault, became the founder of the rationalistic and scientistic theories of modernism, gravitating towards aestheticism, formalism, and semiotics of art. In this article, his theories are explored in connection with the modernist formalist discourse and theoretical work of Clement Greenberg. In addition, Charles Perrault’s theory of art is placed in the space of the theory of “aesthetic modernism” (aesthetic movement) and the theory of “art for art’s sake.” Particular attention is paid to the comparative characteristics of the texts of Charles Perrault, Oscar Wilde, and Julius Meier-Graefe. In turn, the works of the chief theoretician of the “ancients,” Nicolas Boileau, are studied in the context of ideas of the “conservative revolution.” From this perspective, the interpretation of the category of the sublime by Pseudo-Longinus, Boileau, and representatives of romantic culture is assessed. The author concludes that Nicola Boileau and Charles Perrault represent different equal branches of modernist discourse. At the same time, Charles Perrault managed not only to anticipate certain phenomena of the culture of modernism in his texts, but also to take important steps towards the contemporary scientific theory of art.
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Orton, Fred. "'Postmodern', 'Modernism', and Art Education (English) 'Modernised'." Circa, no. 28 (1986): 62. http://dx.doi.org/10.2307/25557103.

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Dickerman, Leah. "Diaspora Modern." October, no. 186 (2023): 113–36. http://dx.doi.org/10.1162/octo_a_00501.

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Abstract Diaspora is a defining condition of the history of the past century, a prehistory to our disastrous moment in time and also the foundation of our political landscape. Yet it is notably absent in much art-historical discussion of modernism, despite the fact that the experiences of diaspora and migration are often embedded in the lives of modernist artists and other actors; in the formations, networks, and dispersals of modernist institutions and group affiliations; and in the deployment of characteristically modernist artistic strategies (temporal fragmentation, collage, montage, and the readymade) that manifest a dialectical entanglement of self and other. This essay ponders the disconnect between the historical structures of modernism in art and its theorization, and considers the questions: Can diaspora and diasporic thinking help further our understanding of the twentieth century in art? Can it help us in reconsidering modernism from a diasporic perspective today? As prompts for further thought, the text considers four historical episodes in which ideas of diaspora, modernity, and modernism are entwined: W.E.B. Du Bois and the First Universal Races Congress in London 1911; Georg Simmel, Du Bois, and Alain Locke in Berlin and the emergence of a matrix of modern sociological thinking; Mikhail Bakhtin in exile in Kazakhstan and the formation of his dialogical philosophy of language; and Aaron Douglas and Meyer Shapiro at the First American Artists’ Congress in 1936 and in the pages of Art Front.
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Clahassey, Patricia. "Modernism, Post Modernism, and Art Education." Art Education 39, no. 2 (March 1986): 44. http://dx.doi.org/10.2307/3193006.

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Dissertations / Theses on the topic "Modernism (Art)"

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Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.

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In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996). For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995). In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious. All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large.
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Christie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.

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The primary subject of this thesis is the work which Fredric Jameson has published since the year 2000. It argues that this date has functioned as a kind of watershed in thinking about Jameson, and that the work which appeared after it has not yet received close or rigorous enough critical attention, especially in comparison to his very widely read and discussed work of earlier decades; in particular his various writings from the 1980s on the subject of postmodernism. It claims that as a consequence the full significance of this writing has been broadly overlooked. The thesis identifies the existence of a 'modernist turn' within this later work which is focussed around three texts in particular; A Singular Modernity of 2002, Archaeologies of the Future of 2005, and The Modernist Papers of 2007. It claims that the mutation in regard to modernism which takes place in these works, and the emergence of modernism as the central concern of Jameson's thinking, is not just valuable in itself in terms of the wider contemporary movement within the academy towards an interest in global forms of modernity. It also constitutes a highly significant revision on Jameson's part of the foundations of much of the vast body of far more canonical work which preceded it. The aim of the thesis is to explore this revision and to effect a subsequent movement in the view of Jameson's thinking onto a far more firmly modernist footing. In asserting the value of this modernistic rethinking of Jameson's oeuvre the thesis argues for a resituating of Jameson's thought in relation to two wider theoretical traditions. The first of these is the Frankfurt School, and in particular the form of modernism associated with Theodor Adorno. The second is the current of post-structuralism contemporary with Jameson's 1980s work; in particular the alternative, post-structural model of postmodernism laid out by Jean-François Lyotard, and the deconstructive form of reading associated with Paul de Man. This argument takes place in four chapters. The first discusses the construction of modernism which occurs in Jameson's key works of the 1980s. The second outlines the revision which this construction is subjected to by his later modernist works. The final two chapters then develop the significance of this model of modernist revisionism by using it to intervene in two of the most widely-discussed and controversial areas of Jameson's career to date; the question of totality (the subject of the third chapter), and Jameson's engagement with the subject of 'Third-World Literature' (the subject of the fourth).
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Trodd, Tamara Jane. "Mediums and technologies of art beyond modernism." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446623/.

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My thesis is a study of the reception of photography into art practices of the twentieth century. It is addressed to the transformations in the idea of an artistic medium which this reception produced. These transformations are studied theoretically by examination of key critial concepts and narratives, including Laszlo Moholy-Nagy's and Walter Benjamin's accounts of the obsolescence of mediums under the pressure of new technologies, Clement Greenberg's theory of modernist medium-specificity, and Rosalind Krauss's recent idea of the 'post-medium condition' as a framework for contemporary critical practice. Transformations in the idea of the artistic medium are also studied in material terms, through a focus on studio practice. The studio photograph is a key document studied. Overall I argue for an understanding of artistic mediums which follows Benjamin's theorization of a 'technology', in his 'Little History of Photography' (1931), 'unpretentious makeshifts meant for internal use'; which helps expand a history of art's involvement with mediums beyond the critical horizons of modernism. There are five chapters, each of which conducts a study into the work of specific artists, in chronological progression. In Chapter One I analyse the oil-transfer works of Paul Klee (1919-1925), interpreting their compound apparatus of making in relation to photography. Chapter Two is a study of Hans Bellmer's Doll photographs (1933-1937), which compares these to photographs taken by Picasso and Duchamp in their studios. Chapter Three considers Ellsworth Kelly's La Combe, I-IV (1950-1951) in relation to the Duchampian model of the cast shadow and John Cage's theorization of 'silence'. Chapter Four examines the aestheticizing effects of conceptual art via a study of artists' uses of the map and functions of mapping. Finally, in Chapter Five, I show the ways that the historic issues tracked help interpretation of contemporary practice, in relation to the work of Tacita Dean.
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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.

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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
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Matthews, Carrie McGowan John. "Articulations of anarchist modernism putting art to work /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1438.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.

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Park, Jeong-Ae. "Modernism and postmodernism in contemporary Korean art : implications for art education reform." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.

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Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.

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[Surrealism] changed the face of art. Everything has changed. (James Gleeson) A pervasive modern sensibility This study adopts several approaches to surrealist practices in Australia. The first is an historiographical one, in which I map surrealism's (re)presentafion in Australian art historical texts. Second, I identify the emergence of surrealism in modernist discourses in Australia, including mass media and popular culture. I then contextualise surrealism in an epistemology of privileged subjectivity in Australia, in which an understanding of Freud, Jung, theosophy and Bergson are seen to inflect the apprehension of surrealism. As psychoanalysis in particular is so crucial to an understanding of surrealism, I have attempted to identify those ideas of Freud active in its construction. In addition, I have included reference to Jacques Lacan, whose ideas were constituted in the psychoanalysis of Freud and initiated in the surrealist milieu. I have also drawn on the discourses of rhetoric to unpack the surreal in Australian landscape practices in the 19405. And as surrealism developed in Melbourne, particularly, against a background of various claims on the left, I have situated it also in marxist discourses. Over the past two decades in art historical texts, surrealism has been recuperated as crucial to the construction of a legitimate Australian modernism. These arguments have been rehearsed thoroughly in the review of the literature in Chapter I. The explanation for this resurgence can be attributed partly to the emergence in art history, as in other academic disciplines, of theoretical concerns active also in surrealism, particularly psychoanalysis and marxism. But there are still gaps in this recuperative project which this study will attempt to address. First, with few exceptions in the texts I draw on in the review of the literature in Chapter 1, surrealism is represented as having emerged in Australian visual art practices at the end of the 19305 and continuing into 1940s. But as this study will show surrealism, like the latent signifier in the 'return of the repressed', insisted in signifying practices in Australia during the 19303, particularly through mass media and popular discourses. Surrealism as a contemporary European style or tendency became available initially through imported reproductions and in publications, such as Minotaure and Herbert Read's Art Now and in local magazines such as Stream and Manuscripts. As the decade progressed surrealist imagery was appropriated increasingly as the latest modern style for photographs and advertisements in such popular Australian magazines as The Home and Man and also Art in Australia.
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Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.

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Hulks, David. "Adrian Stokes and the changing object of art." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246431.

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Books on the topic "Modernism (Art)"

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Kedar, Dorit. Ḳaraṿag'iyo ke-modernisṭ: Modernizm mahu? Tel-Aviv: ha-Ḳibuts ha-meʾuḥad, 2000.

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Kedar, Dorit. Ḳaraṿag'yo ke-modernisṭ: Modernizm mahu? Tel-Aviv: ha-Ḳibuts ha-meʼuḥad, 2000.

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Gay, Peter. Modernism. London: William Heinemann, 2007.

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1963-, Klepper Martin, and Schöpp Joseph C. 1939-, eds. Transatlantic modernism. Heidelberg: C. Winter, 2001.

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konstmuseum, Göteborgs, ed. Scandinavian modernism. New York: Rizzoli, 1989.

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Brookman, Philip. Essential modernism. Washington, D.C: Corcoran Gallery of Art, 2007.

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Museum of Modern Art (New York, N.Y.), ed. Modern art despite modernism. New York: Museum of Modern Art, 2000.

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Netherlands), De Vleeshal (Middelburg, ed. Autumn of modernism. [Amsterdam]: Roma Publications, 2012.

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Bahrani, Zainab. Modernism and Iraq. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2009.

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1962-, Shabout Nada M., and Wallach Art Gallery, eds. Modernism and Iraq. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2009.

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Book chapters on the topic "Modernism (Art)"

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Newall, Diana, and Grant Pooke. "Formalism, modernism and modernity." In Art History, 31–54. 2nd ed. Second edition. | Abingdon, Oxon ; New York : Routledge, 2021. | Series: The basics: Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-21a.

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Picton, John. "Modernism and Modernity in African Art." In A Companion to Modern African Art, 311–29. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch16.

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Filipová, Marta. "Modernism." In Modernity, History, and Politics in Czech Art, 23–55. New York: Routledge, 2019. | Series: Routledge research in art and politics: Routledge, 2019. http://dx.doi.org/10.4324/9780429505140-2.

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Bjone, Christian. "Gravestones of Modernism." In Art and Architecture, 98–113. Basel: Birkhäuser Basel, 2009. http://dx.doi.org/10.1007/978-3-0346-0377-5_6.

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Crouch, Christopher. "After Modernism? Or Developing Modernism?" In Modernism in Art, Design and Architecture, 162–79. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27058-3_9.

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Cărăbaş, Irina. "Modernism versus Modernism." In Periodization in the Art Historiographies of Central and Eastern Europe, 248–62. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003178415-20.

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Fleming, Bruce. "Correcting Modernism." In What Does ‘Art’ Mean Now?, 30–40. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003373377-4.

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Crouch, Christopher. "High Modernism? Or Modernism in Crisis?" In Modernism in Art, Design and Architecture, 139–61. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27058-3_8.

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Milano, Ronit. "Facing Modernism." In A Companion to Nineteenth-Century Art, 413–30. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch24.

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Fortunati, Vita, and Zelda Franceschi. "Primitive Art in Modernism." In Comparative History of Literatures in European Languages, 651–72. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxi.51for.

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Conference papers on the topic "Modernism (Art)"

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Zhu, Kai. "Love Theme of Contemporary Russian Works of Narbikova in Post-modernism Style." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.45.

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Ни, Ш., and М. А. Сорокина. "ANIMAL SCULPTURE IN RUSSIAN ACADEMIC ART OF THE XIX — FIRST QUARTER OF THE XXI CENTURIES." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.44.

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Анималистическая скульптура в русском искусстве отражает изменения в обществе, сочетает реализм с модернизмом. Мастера XIX в. создавали реалистичные образы животных, показывая их эмоциональную выразительность. В XX в. советские художники продолжили традицию анималистической скульптуры, применяя новаторские методы и материалы. Современные скульпторы продолжают развивать этот жанр, выражая уникальный взгляд на мир природы. В статье рассмотрены работы авторов, связанных с петербургской школой. The animalistic sculpture of Russian art reflects changes in society, combines realism with modernism. The masters of the XX century created realistic images of animals, showing their emotional expressiveness. In the XX century, Soviet artists continued the tradition of animalistic sculpture, using innovative methods and materials. Modern sculptors continue to develop this genre, expressing a unique view of the natural world. The article examines the artists of the St. Petersburg school.
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Копылова, М. А., and И. В. Антипов. "THE MOTIFES OF NORTHERN ART NOUVEAU IN THE PROJECTS AND BUILDINGS OF M. A. MAMOSHIN." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.67.

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Вопрос использования мотивов северного модерна в современной архитектуре СанктПетербурга полномерно не освещался в научной литературе. В статье на примере построек и проектов М. А. Мамошина в историческом центре города анализируется творческий метод, демонстрируются основные подходы архитектора к мотивам северного модерна. Автор приводит ключевые причины обращения к этому стилю в творчестве архитектора, которое рассматривается в контексте архитектуры города сквозь призму постструктуралистской теории текста Ж. Женетта. The article analyzes the creative method, demonstrating the main approaches of the architect M. A. Mamoshin to the motifs of northern modernism using the example of buildings and projects in the historical center of the city. The author finds out the reasons for turning to this style in the architect’s work, which is considered in the context of city architecture through the prism of the post-structuralist theory of the text by J. Genette.
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Котломанов, А. О. "TECHNOLOGIES OF METAMODERNISM: PROJECTIONS OF THE THEORETICAL ASPECTS. HENRY MOORE’S “IDEAS FOR SCULPTURE” – BETWEEN ART AND DESIGN." In Искусство и дизайн: история и практика. Crossref, 2024. http://dx.doi.org/10.54874/9785605162995.2024.9.06.

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В контексте антиномии искусства и дизайна представляется уместным критически взглянуть на художественное наследие XX столетия с позиции метамодернистского подхода (в буквальном смысле этого понятия). Таким образом, наследие модернизма, его практики и теоретические позиции будут переосмыслены относительно, с одной стороны, традиции, с другой стороны — терминологии прикладного искусства и дизайна. В этом отношении ярким примером синтеза искусства и дизайна представляются рисунки выдающегося британского скульптора Генри Мура, известные как «идеи для скульптуры». In the context of the antinomy of art and design, it seems appropriate to take a critical look at the artistic heritage of the 20th century from the position of Metamodernism (in the literal sense of the concept). Thus, the legacy of Modernism, its practices and theoretical positions, will be rethought in relation to, on the one hand, tradition, and on the other hand, the terminology of applied art and design. In this regard, a striking example of the synthesis of art and design is the drawings of the leading modern British sculptor Henry Moore – his “ideas for sculpture”.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Quintella, Ivvy Pedrosa Cavalcante Pessôa. "A concepção da forma urbana na escola francesa de urbanismo: rupturas e continuidades." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Curso de Arquitetura e Urbanismo. Universidade do Vale do Itajaí, 2016. http://dx.doi.org/10.5821/siiu.6252.

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Até recentemente, a historiografia do urbanismo dedicada ao século XX privilegiou seu enfoque no relato do modernismo funcionalista propagado pelos C.I.A.M. Obscureceu-se a contribuição da “Escola francesa de urbanismo”, malgrado sua posição de destaque na constituição do campo disciplinar. Essa escola irá perpetuar a maior parte dos princípios compositivos da arte urbana, mas diante de novos desafios: conjugálos às demandas da modernidade e à cientificidade disciplinar. Este estudo propõe-se a observar as estratégias de concepção da forma nos planos urbanísticos dessa escola, buscando identificar as rupturas e continuidades com a tradição. Na presente comunicação, buscou-se discutir o salto que marcou a projeção dos atores da Escola Francesa para além da École des Beaux-arts, consolidando-os como urbanistas de renome internacional. Foram apresentados e discutidos os três projetos que inauguraram o sucesso dessa escola em concursos internacionais de urbanismo: Barcelona, por Léon Jaussey; Anvers, por Henri Prost; Camberra, por Alfred Agache. Until recently, the history of urbanism devoted to the nineteenth century focused on functionalist modernism propagated by C.I.A.M. These contributions darkened the "French school of urban planning", despite its prominent position in the constitution of the disciplinary field. This school will perpetuate most of the compositional principles of urban art, but facing new challenges: conjugating them to the demands of modernity and disciplinary scientific. This study aims to observe the design strategies on the urban plans of this school, seeking to identify the ruptures and continuities with the tradition. In this communication, we attempted to discuss the moment that marked the projection of the actors of the French School in addition to the École des Beaux Arts, consolidating them as internationally renowned urban planners. They were presented and discussed three projects that inaugurated the success of this school in international urban planning competitions: Barcelona, by Léon Jaussey; Anvers, by Henri Prost; Canberra by Alfred Agache.
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Trifan, Aurelia. "Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.14.

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During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.
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Волкова, М. С., and Ю. И. Арутюнян. "THE WAY TO STREFISM: THE EVOLUTION OF LEON CHWISTEK’S ARTISTIC PRINCIPLES IN THE CONTEXT OF EUROPEAN MODERNISM OF 1917–1925." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.51.

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Творческий метод польского художника, философа, математика, логика и теоретика искусства Леона Хвистека (1884–1944 гг.) формировался в контексте ведущих европейских художественных тенденций первой четверти XX в. Восприняв опыт экспрессионизма, кубизма, орфизма и футуризма, к 1922 г. мастер пришел к созданию собственной художественной системы. Стрефизм стал первым этапом на пути развития польского абстрактного искусства. The artist’s method of Leon Chwistek (1884–1944), Polish artist, philosopher, mathematician, logician and art theorist, was formed in the context of leading european artistic trends of the first quarter of the ХХ century. Having embraced the experience of expressionism, cubism, orphism and futurism, by 1922 the painter came to create his own artistic system. Strefism was the first stage in the development of Polish abstract art.
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Poerschke, Ute. "Aspiring Scientific Design: Hannes Meyer and Hans Wittwer’s Petersschule Project and Daylighting Scholarship." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.8.

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This paper looks at the advancement and implementation of daylighting calculations in architectural design during High Modernism. Particularly, it analyzes the engineering and architectural discourses on daylighting in the 1920s with respect to the arguments they delivered for healthy school environments. Using the case study of Hannes Meyer and Hans Wittwer’s famous 1926 project for the Petersschule in Basel, Switzerland, the paper intends to show the modernist stretch between scientific abstraction and design synthesis. In the 1920s, declaring good daylighting design as the first objective for a healthy school was not a new topic. For decades, school regulations had included recommendations for window designs, class room orientations, window-to-floor ratios, and sky-view angles, among others. With advancements in lighting science, for example the definition and measurement of illuminance, such empirical knowledge was increasingly disapproved in favor of more mathematical approaches to design. Meyer and Wittwer’s use of the“calculation procedure after Higbie and Levin” exemplifies how architects attempted to incorporate the state-of-the art knowledge of daylighting in design. Henry Harold Higbieand A. Levin published their calculation methods of daylight intensity in the Transactions of the Illuminating Engineering Society in May 1925 and March 1926, only shortly before the Petersschule competition. Analyzing the calculations, this paper tries to retrace how they influenced the design. Since Meyer and Wittwer also referred to several rules of thumb, one can speculate whether the architects’ empirical knowledge had initially helped them developing their design, while calculations served as later verification.
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Reports on the topic "Modernism (Art)"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Funk, Kellen, and Lincoln Mullen. Legal Modernism. Roy Rosenzweig Center for History and New Media, 2022. http://dx.doi.org/10.31835/legalmodernism.

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Los, Josyp. TOP ANALYTICS OF OPINION JOURNALISM: HISTORY AND MODERNITY. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11405.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time.
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Livingston, Nicholas. Learning in Twenty-First Century Schools: Note 4: Public-Private Partneships in School Infrastructure in the Caribbean. Inter-American Development Bank, December 2014. http://dx.doi.org/10.18235/0006292.

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Several Caribbean countries are now considering the use of PPPs to modernize their infrastructure and improve the delivery of public services, with Jamaica and Trinidad and Tobago currently providing the most advanced examples in terms of the institutional arrangements that have been put in place (PPIAF 2014). Trinidad and Tobago is currently undertaking preliminary detailed analysis to determine the potential value for money of two pilot projects involving, among other things, the PPP-based procurement of 10 early-childhoods education centers and 10 primary schools.
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Durán Ortiz, Mario R., and Fernanda Magalhães. Low Carbon Cities: Curitiba and Brasilia. Inter-American Development Bank, October 2009. http://dx.doi.org/10.18235/0006890.

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This paper addresses the following general questions: What kind of consumption patterns (e.g., land, carbon footprint, traveling) are generated by the more compact and traditional structure of Curitiba vis-à-vis the modernist urban sprawl of Brasilia?; What kind of urban and transport policies and actions can help these cities to become less resource and carbon intensive?; and, what can city or metropolitan governments do to help cities achieve these goals? The paper will show how the carbon footprints of Curitiba and Brasilia - in regard to land use distribution and transportation - are reflected in their motorized and fuel consumption rates and will suggest what can be done in policy terms to improve the cities' performances in terms of carbon and resource efficiency. The central premise is that the shape of a city affects its energy patterns, and that there is a relationship between its urban form, block structure, size, density, and land use with its travel behavior, split transportation modes, and carbon footprint. This paper was presented at the 45th ISOCARP International Congress held in Porto, Portugal on October 18th-22nd, 2009.
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Markov, Smilen. COVID-19 and Orthodoxy: Uncertainty, Vulnerability, and the Hermeneutics of Divine Economy. Analogia 17 (2023), March 2023. http://dx.doi.org/10.55405/17-4-markov.

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COVID-19 was a great challenge for Orthodox Christians worldwide. As all natural disasters in modernity, the pandemic was explained and combatted on the basis of science. There could be no doubt that death, pain, suffering, despair, imprisonment (the quarantine can indeed be experienced as an imprisonment) are opportunities for the Church to bear witness to Christ. To be ashamed of one’s vulnerability and to neglect the communal aspect of suffering means to render oneself less capable of bearing witness. Hence, it is important to find the conceptual ground for calibrating the truthful reaction to the pandemic in terms of the Christian ethos. To achieve this, we need the proper interpretative lens through which to examine the disaster of the pandemic.
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Flôres Jr., Renato G., and Masakazu Watanuki. Integration Options for MERCOSUR: A Quantitative Analysis by the AMIDA Model. Inter-American Development Bank, January 2008. http://dx.doi.org/10.18235/0011055.

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The recent developments at the multilateral and regional fronts call for a re-evaluation of trade and integration options for MERCOSUR. Applying a brand new CGE model, we evaluated six scenarios. The simulation results indicate that trade agreements will generate relatively small but positive gains. Integration with the Unites States and the European Union, two key partners, will have somewhat divergent and opposite outcomes. Agriculture will be a clear winner, while MERCOSUR has competitiveness issue in capital-intensive manufacturing sectors. It is revealed that the bloc's present trade policy is on a right track. Nevertheless it is undoubtedly important for the bloc to clinch regional initiatives with long-term perspective, and essential to streamline and modernize their productive sectors for sustained trade balance and growth.
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Goswami, Amlanjyoti, Deepika Jha, Kaye Lushington, Mukesh Yadav, Sahil Sasidharan, Sudeshna Mitra, and Tsomo Wangchuk. Land Records Modernisation in India – I. Indian Institute for Human Settlements, 2021. http://dx.doi.org/10.24943/9788195489398.

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During 2014–2015, a team of researchers conducted a series of primary and secondary studies on land record modernisation initiatives across Haryana, Himachal Pradesh, Bihar and Gujarat, which were published as part of a five-volume set on Land Records Modernisation in India. The second edition of these volumes incorporates new initiatives, technological updates and legislative amendments in each of these states, as well as the changes in the national level policy and programmes. Based on extensive on-ground research, this set of volumes presents a review of the land records management processes and the status of current efforts to modernise land records, against a larger historical background of land and revenue relations in each state. The volumes on the respective states are accompanied by an institutional, legal and policy review at the national level, which provides a summary of various crucial aspects of land records modernisation in India. It also appraises the impact of the Digital India Land Records Modernization Programme, its gains and limitations, as well as possible steps forward. Combining detailed state-level analysis with a national review, this is a much needed intervention in the study of land records administration and modernisation in India. This set of volumes would be a vital resource for researchers and practitioners alike, as well as for policymakers at both the state and central level.
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