Relevant bibliographies by topics / Modernism (Art) Penis in art

Academic literature on the topic 'Modernism (Art) Penis in art'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Modernism (Art) Penis in art"

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Scharf, Aaron. "Modernism; Photography; Art." History of Photography 13, no. 1 (January 1989): 95–102. http://dx.doi.org/10.1080/03087298.1989.10442171.

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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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Monks, Aoife. "Bad Art, Quirky Modernism." Representations 132, no. 1 (2015): 104–11. http://dx.doi.org/10.1525/rep.2015.132.1.104.

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This essay considers the systems of value that undergird the employment of quirky objects in scholarship and argues that quirk historicism is another iteration of modernism in its attachment to estrangement and theatricality as modes of critique. In doing so, the essay asks why it is that “bad art” is so much easier to co-opt into scholarship when it’s safely in the past.
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Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.

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Haslam, Michael. "Modernism and Art Therapy." Canadian Art Therapy Association Journal 18, no. 1 (March 2005): 20–27. http://dx.doi.org/10.1080/08322473.2005.11432268.

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Brighton, Andrew. "Art: Francis Bacon's Modernism." Critical Quarterly 42, no. 1 (April 2000): 137–42. http://dx.doi.org/10.1111/1467-8705.00282.

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Papastergiadis, Nikos. "Modernism and Contemporary Art." Theory, Culture & Society 23, no. 2-3 (May 2006): 466–69. http://dx.doi.org/10.1177/026327640602300286.

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Topper, David, and Brian Wallis. "Art after Modernism: Rethinking Representation." Leonardo 24, no. 2 (1991): 247. http://dx.doi.org/10.2307/1575323.

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Wolff, J. "Modernism, Modernity and English Art." Oxford Art Journal 21, no. 2 (January 1, 1998): 199–202. http://dx.doi.org/10.1093/oxartj/21.2.199.

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Olin, Margaret. "Ornament and European Modernism: From Art Practice to Art History." Journal of Design History 33, no. 2 (May 2020): 185–87. http://dx.doi.org/10.1093/jdh/epaa024.

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Dissertations / Theses on the topic "Modernism (Art) Penis in 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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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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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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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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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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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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Hincks, Anthony. "Modernism and the crisis in art : the structure of fine art practice : a sociological account." Thesis, University of Leicester, 1988. http://hdl.handle.net/2381/34519.

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The fine arts can be described as in a state of crisis, manifest in the tendency for style to fragment and pluralism in art criticism - the view that the work of art is a document and that there are no privileged criteria of artistic value. Following the example of the anti-art avant-garde, recent art critical and sociological theory has rejected the notion of artistic 'specialness', and undermined the category of aesthetic experience. In this context, it has been suggested that art is finished, that a new era of Post-modernity has begun. This thesis confronts these claims by raising the question of the nature of art. This thesis argues that:;- Theorisation about the nature of art can be located within a structural framework, itself a response to the existential reality of the socially mediated categories of art and aesthetic experience.;- The fine art tradition was historically constituted as a social category, with the theorisation of the special relationship between artist, art object and aesthetic object.;-Theorisation took two forms within the Classical tradition, each developing into distinct aesthetics in the Modernist period, the form of the aesthetic being related to the art style and its social conditions of production and consumption.;- The form of the aesthetic can be shown to be structurally related to the consciousness of freedom/oppression in society, providing an important component in the dynamics of style.;- Contemporary art remains Modernist. Claims concerning the end of art and Postmodernism have wrongly delimited Modernism, often narrowly confined to avant-gardism.;Nonetheless, since 1945, artists have pushed art to the limits of the structural framework that defines it as a special social practice, all but abandoning art's aesthetic core, but not erasing its public's expectation of 'meaning'. In this context, a more evaluative response to art is called for from a critical sociological discourse.
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Krakenberg, Jasmin. "Gothic art and German modernism Max Beckmann and "Transzendente objektivitat" /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4265.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.
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Books on the topic "Modernism (Art) Penis in art"

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Art history after modernism. Chicago, IL: University of Chicago Press, 2003.

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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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Paul, Wood, ed. Varieties of modernism. New Haven: Yale University Press in association with the Open University, 2004.

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

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Klee, Paul. On modern art. London: Faber and Faber, 1987.

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Ballatore, Sandy. Romantic modernism, 100 years. Santa Fe: Museum of Fine Arts, Museum of New Mexico, 1994.

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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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What is modernism? Mankato, MN: Creative Education, 2016.

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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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Jaroslav, Anděl, and Museum of Fine Arts, Houston., eds. Czech modernism, 1900-1945. Houston: Museum of Fine Arts, 1989.

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Book chapters on the topic "Modernism (Art) Penis in 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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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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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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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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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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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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Horton, Ian, and Maggie Gray. "Variations of Formalism, Modernism, Abstraction." In Art History for Comics, 43–55. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07353-3_5.

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Staniszewski, Mary Anne. "Aestheticized installations for modernism, ethnographic art and objects of everyday life [excerpt]." In Curating Art, 89–101. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-16.

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Navas, Eduardo. "Modernism and Media Production." In Art, Media Design, and Postproduction, 63–73. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-8.

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Conference papers on the topic "Modernism (Art) Penis in 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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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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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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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.

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In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.
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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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