Journal articles on the topic 'Modernism (Art)'
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1
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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Ramírez Jaramillo, John Fredy. "Las apreciaciones estéticas de Tomás Carrasquilla." Estudios de Literatura Colombiana, no. 24 (August 11, 2011): 161–79. http://dx.doi.org/10.17533/udea.elc.9865.
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Resumen: Este ensayo ofrece un acercamiento a las concepciones estéticas más representativas de Tomás Carrasquilla relacionadas con la actividad creadora, la finalidad del arte, la crítica literaria, la noción de belleza y la reflexión sobre el arte cinematográfico de su época. Si bien parte de sus planteamientos estéticos surgen como una respuesta crítica al naciente modernismo en Colombia, se expondrán las evidencias por las cuales hay que convenir que la postura asumida por el autor antioqueño no puede interpretarse como una actitud de total rechazo hacia los postulados de dicha corriente. Descriptores: Tomás Carrasquilla; Arte; Sinceridad; Crítica literaria; Estética; Belleza; Arte cinematográfico. Abstract: This essay offers an approach to Tomas Carrasquilla’s most representative aesthetics conceptions, such as: creative activity, the aim of art, literary critique, beauty and his thoughts about the cinematography of his time. Although it is true that a great deal of Carrasquilla’s aesthetics arises as a critic answering against the early Modernism in Colombia, several evidences will be exposed here which prove that Carrasquilla´s position cannot be interpreted as an attitude of total rejection towards the modernist premises. Key words: Tomás Carrasquilla; Art; Literary criticims; Aesthetics; Cinematographic art; Modernism
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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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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (August 1, 2012): 337–70. http://dx.doi.org/10.1525/phr.2012.81.3.337.
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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.
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Wulliger, Marilyn. "A Portrait of the Modernist: Seeing Modernism through Art." English Journal 81, no. 1 (January 1992): 35. http://dx.doi.org/10.2307/818336.
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Brown, Carl R. V. "A Portrait of the Modernist: Seeing Modernism through Art." English Journal 81, no. 1 (January 1, 1992): 35–40. http://dx.doi.org/10.58680/ej19928174.
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Moore, Daniel. "Editor's Introduction: Modernism, Aesthetics, Historiography." Modernist Cultures 3, no. 2 (May 2008): 94–99. http://dx.doi.org/10.3366/e2041102209000355.
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Aesthetics is the reflexive construction of the concepts necessary for the comprehension of the stakes and meaning of art in the light of the history of the dominant art of the second half of the 19th century and the first half of the 20th century: modernism. The task of aesthetics is to vindicate modernist art's own claim to mattering, to being significant, indeed unavoidable, for our collective selfunderstanding of ourselves as denizens of modernity. (J. M. Bernstein)
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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (November 2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.
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This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusivity of modernist art and literature, Harper's Bazaar (UK) simultaneously facilitated the mainstreaming of modernism by commodifying modernist texts and artworks and teaching its readers how to approach them. During the early 1930s, this article argues, Harper's Bazaar (UK) helped to establish early narratives of modernism's origins and development while marketing modernism as a desirable, high-end cultural product to its fashion-conscious audience.
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Shchekaleva, Olga V. "The purpose of non-classical art as a philosophical problem (based on the philosophy of V. S. Solovyov, S. N. Bulgakov and N. A. Berdyaev)." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 23, no. 3 (September 22, 2023): 298–302. http://dx.doi.org/10.18500/1819-7671-2023-23-3-298-302.
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Introduction. In the modern world, the problem of the purpose of art remains relevant due to the emergence of various forms of non-classical art. Modernism and postmodernism differ from classical art, therefore it is inappropriate to transfer the purpose of classical art to these movements without a deep analysis. It seems reasonable for the analysis of non-classical art to consider it through the spectacles of Russian religious philosophy. Theoretical analysis. Representatives of the philosophy of unity and the representative of religious existentialism N. A. Berdyaev wrote about the purpose of classical art. The question arises: what is the purpose of non-classical art – modernism and postmodernism? The philosophers themselves – V. S. Solovyov, S. N. Bulgakov, N. A. Berdyaev analyzed works of classical art and modernist works. The author analyzes the artifacts of postmodern art through the spectacles of Russian religious philosophy. Conclusion. For a deep analysis of works of non-classical art, the criteria developed in the philosophy of unity should be used, since any work of art can be evaluated for the author’s desire to realize unity and from the point of view of actualization of eternal ideas. It is also possible to use the concept of Berdyaev’s creativity for the analysis of modernism, but this concept is not applicable for evaluating the art of postmodernism.
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Matveeva, Alla, Roman Krasnov, Elena Atmanskykh, and Stanislav Bannykh. "Antirealism of new reality or art against personality: with the eyes of the philosophy." SHS Web of Conferences 72 (2019): 03051. http://dx.doi.org/10.1051/shsconf/20197203051.
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In the article, the authors provide an assessment of the modernism art, cultivated for decades, in terms of the possibilities of its social and ideological influence. It is argued that the ideologists of the bourgeoisie had to admit that Western art culture was at an impasse. The article analyzes the works of philosophers and artists, such as: Lenin, Schwartz, Nietzsche, Brooke, Leist, Meyer, Reed, Bergson, Lauterbach, Huxley, Weir, etc. Among the many concepts - the theory of "cultural circles", "cultural lag" and "cultural traditions"; Theory of Art Evolution - Professor Munroe; theory of social and cultural dynamics P. Sorokin and others. However, none of these theories could put forward any significant, practically effective ideas that could breathe life into bourgeois art. Summing up the results of more than half a century of the modernism art, we can say that it did not enrich the artistic culture. Starting with contrasting itself with traditional art in a philosophical, theoretical and aesthetic sense, modernism fell outside the scope of art itself due to the absurdity of its practice. The authors believe that in search of a way out of the impasse, bourgeois scholars could not escape from "anti-realism" and art was against the individual. The path traveled by modernist art proves the futility of bourgeois art culture in the first half of the twentieth century, but does not deny its revival in the XXI century.
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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.
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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (August 2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Wang, Yiying. "The influence of contemporary art trend of thought on modernism design." Highlights in Art and Design 1, no. 1 (September 13, 2022): 21–24. http://dx.doi.org/10.54097/hiaad.v1i1.1566.
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With the rapid development of modern society, art design is also constantly improving. In this pluralistic world, various trends of thought collide, absorb and merge with each other. This trend also influences the various changes of modernist design, this is the inevitable result of the development of Western society and art to a higher historical stage. Art Inheritance is inevitable in history, any art is constantly colliding with the previous art. This paper discusses the influence of contemporary art trend on modernism design based on a case study.
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Demchenko, Dariia. "«Ideology at Its Purest»: Whose modernism?" Text and Image: Essential Problems in Art History, no. 2 (2023): 126. http://dx.doi.org/10.17721/2519-4801.2023.2.09.
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In this review, I aim to analyse the catalogue «In the Eye of the Storm: Modernism in Ukraine, 1900–1930s». The project bearing the same name, for which the catalogue was prepared, commenced in the autumn of 2022 at the Thyssen-Bornemisza Museum (Madrid), essentially becoming the first extensive exhibition dedicated to the work of modernist artists in the territory of contemporary Ukraine since 2007. Modernism is an international phenomenon characterised by various movements and ideas, that incorporate local elements into art. However, post-Soviet states instrumentalised knowledge of modernism, seeking to recreate a «tradition» disrupted by the Soviet regime. This involves juxtaposing the modernist movement with socialist realism. The authors of the reviewed publication also adopted this approach: to construct a «national» past, they resorted to the cultural nationalisation of modernism. This is achieved, in part, by using terms such as «Ukrainian modernism/avant-garde», blending ideological traditions of modernity and modernism, and so on. In my text, I aim to clarify these processes and demonstrate the inappropriateness of defining the national identity of artists who worked in the territory of contemporary Ukraine from the 1900s to the 1930s, as well as the appropriation of modernism by one country or another.
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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (October 2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.
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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.
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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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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art." MANUSYA 11, no. 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.
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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealism, which were subsidiary art movements within modernism. These specific features of the Thai short story signify a radical break with the traditional writing of the time.
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Moonie, Stephen. "Our Cherished Moments of Involuntary Realism: Charles Harrison, Modernism, and Art Writing." Arts 11, no. 1 (January 21, 2022): 23. http://dx.doi.org/10.3390/arts11010023.
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In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the space between a formalist analysis of the art object and a more dispersed field of artistic practice, where a changed relationship between art practice, criticism, and curating was taking place. However, in the 2000s, Harrison came to reflect upon this cardinal moment. Harrison referred to his recollected experiences of the late 1960s as a ‘cherished moment of involuntary realism’, opening up issues around art writing which remain pertinent to the practice of art history.
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MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.
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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.
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Jose, Antony, Berlin Grace VM, and D. David Wilson. "Contemporaneity of Modernism as an Aesthetic Innovation." International Research Journal of Multidisciplinary Scope 05, no. 01 (2024): 86–92. http://dx.doi.org/10.47857/irjms.2024.v05i01.0147.
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Modernism as a literary movement can be periodized from the point of literary history where postmodernism follows modernism. However, modernism as an aesthetic innovation was ever-present in so-called postmodernism and is present in the contemporary literary world. In other words, because of modernism’s open-ended nature as an aesthetic innovation as well as the essential presence of newness in the term, the contemporary is forced to rely on modernism as the frame that can help it define its own identity. Contemporary authors reveal their relationship with modernism and contemporary literature demonstrates the recurring presence of modernism even beyond historical periodization. As a stylistic mode, modernism becomes more dominant in the contemporary. In today's neoliberal capitalism, key components of modernist thinking and art reappear in contemporary situations to serve a specific purpose. Thus, modernism is not a closed movement of the past but is a recurring presence in the contemporary literary world as an aesthetic intervention. This paper through the conceptual analysis of the term as well as its usage, investigates the contemporaneity of modernism to comprehend how modernism is not only back or can be said to have resurfaced, but also how modernism is ever present as an aesthetic innovation in contemporary literature.
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Henning, Moritz, Sally Below, Christian Hiller, and Eduard Kögel. "Encounters with Southeast Asian Modernism." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.
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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In 2020, the project will continue with an exhibition and accompanying program in Berlin.
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Moreschi, Marcelo. "22 por 42: o paradigma da celebração." Remate de Males 33, no. 1-2 (June 17, 2015): 255–71. http://dx.doi.org/10.20396/remate.v33i1-2.8636456.
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Usually the ten-year anniversaries of the Week of Modern Art are occasions to celebrate the so-called Brazilian modernist movement. The purpose of this article is to highlight what is at stake at such celebrations by examining The Modernist Movement, by Mário de Andrade, originally a speech presented on the 20th anniversary of the Week of Modern Art, in 1942. Mário de Andrades text not only offers the paradigmatic set of arguments used to promote the relevance of the Modernist Movement (a set of arguments in vogue on these occasions) but also articulates Brazilian modernism as a persuasive historiographic construct.
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Sluga, McKayla. "Art Film Writing in American Modernist Periodicals, 1910s–1930s." Journal of Modern Periodical Studies 14, no. 2 (December 2023): 159–84. http://dx.doi.org/10.5325/jmodeperistud.14.2.0159.
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ABSTRACT This article connects periodical and film studies to present a history of film criticism in the United States. Through modernist periodicals such as The Seven Arts and The Soil, the article traces film writing’s evolution from scattered articles in the 1910s to the creation of Experimental Cinema by 1930. Rediscovering these early film writings in relation to Experimental Cinema decenters trade journals and newspapers to emphasize developments outside of mainstream print. It also clarifies cinema’s historical role in American progressives’ projects of modernism in the twentieth century by offering intellectual, political, and cultural insights into film’s appearance in modernist periodicals.
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Somers, Matthias, and Sami Sjöberg. "Reading Ray: Avant-Garde and Transnationalism in Interwar Britain." Modernist Cultures 16, no. 2 (May 2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.
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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.
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Koslowski, Peter. "Razón e historia. La modernidad del postmodernismo." Anuario Filosófico 27, no. 3 (October 4, 2018): 969–89. http://dx.doi.org/10.15581/009.27.29838.
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The paper distinguishes between a free form of modernity and an ideological form of modernity, whereby the latter can also be called modernism. Free modernity aims at realising the modern, i.e. that which responds to the needs of the present and realises what corresponds to the state-of-the-art. Modernism as an ideology, however, believes in "the" ultimate modernism, in one final modern age of reason. The modernist Hegelian and Marxist philosophies of history and of dialectical metaphysics have come to an end. It demonstrates that we are living in a post-modern age that gives a new freedom for the Christian interpretation of history and for the theological and personalist form of metaphysics.
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Szczecina, Ludmiła Zofia. "Modernism, Mysticism and the Pursuit of Freedom - Bringing the initial instinct of the Modernists to its fulfilment in the model of the Christian mystic." Language, Culture, Politics. International Journal 1 (December 9, 2021): 171–91. http://dx.doi.org/10.54515/lcp.2021.1.171-191.
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While one can certainly debate about the forms Modernism (in the artistic sense) manifested itself in and what actually qualified as Modernism, one cannot deny that the desire for freedom was one of its underlying tenets. In the 21st century it would seem however that the desire for freedom has not been satiated. In the following essay I will explore whether emancipating art from a moral authority achieved the freedom modernist artists so deeply desired and I will question whether severing himself from objective truth the artist was allowed to fully thrive. Comparing Modernist concept’s (Stream of consciousness, that art should reflect reality and the emphasis on subjectivity etc.) with the fundamentals of Christian mysticism (i.e. the interior life) and by reconciling subjective experience with objective truth through the use of St John Paul II’s philosophical anthropology – I hope to pose an alternative path to satiate, truly satiate, the Modernist’s thirst for freedom.
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Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (February 2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.
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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.
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Bátorová, Mária. "Vzťah náboženstva a umenia v literatúre svetovej a slovenskej moderny." Slavia Occidentalis, no. 73/2 (June 14, 2018): 7–21. http://dx.doi.org/10.14746/so.2016.73.26.
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The study analyzes the relation between religion and art in the world, and in Slovak modernist literature. It also examines religion and art from the point of view of its scholarly reception in the context of European literature. It builds on the division of artists of religious orientation based on Bernhard Rang’s two types:a) Claudelian and b) Green-ian. A part of the study provides new insights into Slovak literary modernism. Despite the expectation that modernism would exclude Christian works of literature, the opposite happened:modernism tested Christian works of art and emphasized their ability to capture the subtle aspects of human existence. In this way, a weakness of modernism was exposed: its degenerative function when it focuses only on material aspects. A historical overview has shown that Slovak intellectuals were used to living in an alternative cultural environment and nurturing an alternative culture. This experience proved useful to them in the 20th century, particularly after 1945. During communist rule, the underground church played a major role in Poland and in Slovakia. In Slovakia, Catholic dissidents were of great importance to the developments that led to theVelvet Revolution in November 1989.
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McAvoy, Siriol. "‘I’ve Put a Yule Log on Your Grate’: Lynette Roberts’s ‘Naïve’ Modernism." Humanities 9, no. 1 (December 19, 2019): 3. http://dx.doi.org/10.3390/h9010003.
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In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—conceived broadly as ‘attitude, stance, posture, and consciousness’—is crucial to modernist writers’ attempts to think in—and beyond—the nation. Embracing a liberating openness to experience and ‘amateurish’ passion, Roberts’s ‘home-made’ style challenges imperial constructions of nationhood centred in authority and control with a more collective, constructivist, improvisatory concept of belonging (Roberts 2005, p. xxxvi). Probing the intersections between folk art, national commitments, and global feminist projects in British modernism, I investigate how a radically transformed ‘naïve’ subtends the emergence of a new kind of feminist modernism, rooted in concepts of collective making and creative labour.
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Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 191–209. http://dx.doi.org/10.14746/aq.2019.30.9.
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The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
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Hutchinson, John, and Brandon Taylor. "Modernism, Post-Modernism, Realism. A Critical Perspective for Art." Circa, no. 36 (1987): 49. http://dx.doi.org/10.2307/25557249.
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Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics." Deleuze Studies 6, no. 2 (May 2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.
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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.
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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.
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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.
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Khachibabyan, Mane. "Modernism and Feminism Representations of Women in Modernist Art and Literature." WISDOM 1, no. 6 (July 1, 2016): 118. http://dx.doi.org/10.24234/wisdom.v1i6.71.
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This article demonstrates the place and role of the image of women in modernist art and literature, mainly focusing on Impressionism and Post-impressionism. It discusses the unique works of modernist painters and writers (Marie Cassatt, Edgar Degas, Edouard Manet, Pablo Picasso and Virginia Woolf) to explore how modernist art and literature both defined, reflected and shaped gender roles. The article discourses on the representations of feminist views and gender inequality in the works of some modernist artists.
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Strelnikova, Larisa Yu, and Irina I. Tarasova. "Modernist mythologism of Vladimir Nabokov’s creative work (based on the material of the novels “Mary”, “The Gift”, “Invitation to a Beheading”)." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 98–104. http://dx.doi.org/10.34216/1998-0817-2022-28-1-98-104.
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The subject of research in the article is the early prose of Vlaimir Nabokov, the writer of the Russian diaspora, from the point of view of the mythologising of the creative process, which was a characteristic feature of the art of modernism. The study notes that Nabokov builds his texts as artistic mythology, giving art a sacred meaning. Unlike the ontological function of the ancient myth, mythologism in modernist literature is aimed at the aesthetic perception of reality. The writer intentionally mythologises his texts, saturating them with mythological codes, revealed in such writing techniques as intertextuality, allusions, associations, including the work in a wide cultural context. It can be concluded that the mythological codes in Nabokov's modernism act as the literary work of the author who is the Creator of his texts, rather than as a formula for the world order or an explanation of reality. When studying Nabokov's works, one should keep in mind that the writer uses his codes pointwise to create new artistic structures instead of interpreting the traditional myth.
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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.
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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.
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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (December 4, 2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.
Full textAbstract:
The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.