2,988 research outputs found
The Arab Avant-Garde: Musical Innovation in the Middle East
No full textIn the early nineteenth century, the term “avant-garde” began to capture greater semantic territory. Once purely a military phrase used to distinguish crack troops, it then assumed a high-ranking position within cultural expression, marking out art work that forged ahead and broke new ground. What can it mean to conjoin this French phrase with the word “Arab”? French forces, along with other imperial intruders, are no strangers to Arab terrain. The colonisation of Algeria, Tunisia, Morocco and Greater Syria followed in the wake of the brief Napoleonic “mission” to Egypt between 1798 and 1801. It was during this military foray that some of modern Europe’s most expansive data on Egyptian music was collected, information that comprised two whole volumes of Guillaume André Villoteau’s Description de l’Egypte. The Napoleonic campaign gathered not only military, but also cultural intelligence, if the two can be so easily separated
Book review: Modernist and avant‑garde performance: an introduction, by Claire Warden
No full textBook review: Modernist and avant-garde performance: an introduction, by
Claire Warden. Edinburgh: Edinburgh University Press, 2015;
ISBN: 9780748681556 (£19.99)Publisher PD
Recommended from our members
Korean art and the avant-garde dilemma
No full textThe thesis covers Korean avant-garde art history and the dilemma that faced Korean artists at the end of the Japanese Colonial Period (1910-1945). Current literature adequately details avant-garde as progressive fine arts; however, there is limited literature on Korean art in this period. This thesis suggests the term avant-garde dilemma to indicate Korean artists‘ difficulty in style selection to follow a traditional aesthetical trend or progressive socio-political attitude for the foundation of Korean post-modernism. A salient démarche is found when Korean political avant-garde artists meet this dilemma in the midst of the Korean Demonstration Era (1976-1989) that initiates the decline of aesthetical activism and Demonstrative Art. Several styles of avant-garde dilemma after the Korea War are critiqued in the avant-garde evolution; subsequently, there arise hybrid styles between socio-political avant-garde and aesthetical avant-garde styles in Contemporary Korean Art. The examples included are Nam-Jun Baik‘s Video Art (a combination of art and technology), Do-Ho Suh‘s combination of meticulous sculpture with installation to satire Korean neo-capitalist society, Doo-Shik Lee‘s combination of oriental color with western gesture, and Suk-Chang Hong‘s free calligraphy to combine still-life, landscape, calligraphy, and scribbling
Artists and Radicalism in Germany, 1890-1933: Reform, Politics and the Paradoxes of the Avant-Garde
No full textThis thesis seeks to lay the foundations for a socio-historical analysis of German radicalism and the avant-garde. Following first the development of the German applied arts movement from 1890, and then the debates over the role of painting from within and beyond the avant-garde in the interwar period, it addresses the ways the reform of artistic and technical-vocational education was intertwined with the questions of the ‘art proletariat’ and the nature of intellectual labour in capitalist economy. It argues that the history of what was widely conceived as the ‘avant-garde’ in the interwar period was still responding to the same set of concerns addressed in the context of the applied arts movement. The concept of functional, ‘useful’ artistic labour as opposed to the ‘useless’ fine arts, a concept connecting the prewar reform movement with the interwar avant-garde, is translated here into a new model of professional politics serving the radical or vanguard artist. ‘Radicalism’ is discussed here neither in terms of political positions per se nor with regard to artistic innovation, but instead as a distinct historical phenomenon of professional politics. The question is not what makes an artwork or an idea radical, but how artistic radicalism itself was shaped. The secession of the applied artist from the traditional art institutions is seen as a decisive moment in this process. Precisely this outsider position – beyond fine arts and traditional crafts – determined the increasingly exclusionary policies of the avant-garde movement. Thus this thesis ultimately proposes a new interpretation of the conflict between the advocates and enemies of modern art as a whole. It was the artists’ own professional politics which shaped this conflict and determined affiliations with specific political parties, and not the opposite. The relation of artistic developments to larger political issues must, I argue, be read through the specific professional politics emerging out of the polarity between the vanguard artist-reformer and the so-called ‘art proletariat’
Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art
No full textCaringly dismantling the misunderstanding that has often limited modernist aesthetics—namely, that avant-garde art is to be ascetic and skeptical of bodily experience—Cecilia Novero’s impressive study takes a more playfully Nietzschean approach by demonstrating that the European avant-garde cannot properly be understood without appreciating the role that allegories and material practices of incorporation play within it. This book is a delicious
morsel.
Gerhard Richter, University of California-Davis
The history of taste has long harbored a repressed field of knowledge, that of cuisine, which had been metaphorized out of existence in traditional aesthetic theory. Today, as the culinary has finally found its place in theoretical and museological endeavors, certain works promise to become the foundation of a new, pluridisciplinary field that includes gastronomy. Among them is Antidiets of the Avant-Garde. It may be said that this book illuminates the culinary unconscious of our modernity. It is essential reading for all those interested in modern art, and for all those who love to eat.
Allen S. Weiss, author of Feast and Folly: Cuisine, Intoxication, and the Poetics of the Sublime
In this interdisciplinary study, Novero provides a detailed analysis of how food and food-related activities provide rich context for explorations of the blurring of boundaries between art and daily life.
Choice
Antidiets is certainly successful in capturing both the avant-garde’s interdiscipliarity and its
multimediality. And scholars of the avant-garde will discover in Antidiets a unique
history not yet told in any national or international context. Novero’s monograph on the intersection of food, the avant-garde and the consuming human body achieves a great deal.
German Quarterly
In her sophisticated and rigorous study, Cecilia Novero provides readers with a novel understanding of the objectives and achievements but also the contradictions and shortcomings of twentieth-century avant-garde movements. It will be difficult for future avant-garde research to ignore this study.
Monatshefte
Simultaneously accessible and thought provoking.
ParallaxDiscussing an aspect of the European avant-garde that has often been neglected—its relationship to the embodied experience of food, its sensation, and its consumption—Cecilia Novero exposes the surprisingly key roles that food plays in the theoretical foundations and material aesthetics of a broad stratum of works ranging from the Italian Futurist Cookbook to the magazine Dada, Walter Benjamin’s writings on eating and cooking, Daniel Spoerri’s Eat Art, and the French New Realists.
Starting from the premise that avant-garde art involves the questioning of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible art. Through the rhetoric of incorporation and consumption and the use of material ingredients in their work, she shows, avant-garde artists active in the 1920s and 1930s as well as the neo-avant-garde movements engaged critically with consumer culture, memory, and history.
Attention to food in avant-garde aesthetics, Novero asserts, reveals how these works are rooted in a complex temporality that associates memory and consumption with dynamics of change.Peer Reviewe
Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art
No full textCaringly dismantling the misunderstanding that has often limited modernist aesthetics—namely, that avant-garde art is to be ascetic and skeptical of bodily experience—Cecilia Novero’s impressive study takes a more playfully Nietzschean approach by demonstrating that the European avant-garde cannot properly be understood without appreciating the role that allegories and material practices of incorporation play within it. This book is a delicious
morsel.
Gerhard Richter, University of California-Davis
The history of taste has long harbored a repressed field of knowledge, that of cuisine, which had been metaphorized out of existence in traditional aesthetic theory. Today, as the culinary has finally found its place in theoretical and museological endeavors, certain works promise to become the foundation of a new, pluridisciplinary field that includes gastronomy. Among them is Antidiets of the Avant-Garde. It may be said that this book illuminates the culinary unconscious of our modernity. It is essential reading for all those interested in modern art, and for all those who love to eat.
Allen S. Weiss, author of Feast and Folly: Cuisine, Intoxication, and the Poetics of the Sublime
In this interdisciplinary study, Novero provides a detailed analysis of how food and food-related activities provide rich context for explorations of the blurring of boundaries between art and daily life.
Choice
Antidiets is certainly successful in capturing both the avant-garde’s interdiscipliarity and its
multimediality. And scholars of the avant-garde will discover in Antidiets a unique
history not yet told in any national or international context. Novero’s monograph on the intersection of food, the avant-garde and the consuming human body achieves a great deal.
German Quarterly
In her sophisticated and rigorous study, Cecilia Novero provides readers with a novel understanding of the objectives and achievements but also the contradictions and shortcomings of twentieth-century avant-garde movements. It will be difficult for future avant-garde research to ignore this study.
Monatshefte
Simultaneously accessible and thought provoking.
ParallaxDiscussing an aspect of the European avant-garde that has often been neglected—its relationship to the embodied experience of food, its sensation, and its consumption—Cecilia Novero exposes the surprisingly key roles that food plays in the theoretical foundations and material aesthetics of a broad stratum of works ranging from the Italian Futurist Cookbook to the magazine Dada, Walter Benjamin’s writings on eating and cooking, Daniel Spoerri’s Eat Art, and the French New Realists.
Starting from the premise that avant-garde art involves the questioning of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible art. Through the rhetoric of incorporation and consumption and the use of material ingredients in their work, she shows, avant-garde artists active in the 1920s and 1930s as well as the neo-avant-garde movements engaged critically with consumer culture, memory, and history.
Attention to food in avant-garde aesthetics, Novero asserts, reveals how these works are rooted in a complex temporality that associates memory and consumption with dynamics of change.Peer Reviewe
Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism
No full textWarsaw and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland's literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements―Symbolism, Expressionism, Futurism, and Constructivism―and to reveal their impact on later practices in art cinema.
Review
Kuc's ambitious project provides a comprehensive view of Polish avant-garde film before 1945, making a solid contribution to the experimental cinema field of studies and showing how illuminating an account based on sources other than realized films can be for early avant-garde cinema.
― Slavic Review
Kamila Kuc's Visions of Avant-Garde Film is devoted to the beginnings of the Polish film avant-garde. The author of this volume proposes an original perspective, paying attention to phenomena that have not been yet described or that have been so far ignored. Her reflection focuses on the relationship between the film and other areas of the avant-garde. [This] book is not only valuable by filling the gap in the literature devoted to early Polish experimental cinema, but also an original proposal of an 'alternative' cinema history.
― Kwartalnik Filmowy
[E]very chapter [is] a revelation in this still understudied area of Eastern European cinema.
― Canadian Journal of Film Studies
...an important addition to the English-language literature on experimental film in Central and Eastern Europe in the first half of the 20th century.
- Marcin Gizyck
Avant-garde art and nondominant thought in postwar Japan image, matter, separation
No full text"This book offers a reassessment of how 'matter' - in the context of art history, criticism and architecture - pursued a radical definition of 'multiplicity', against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Tsuruoka Masao, Kawaguchi Tatsuo and Muraoka Saburō, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image; self and other; human and thing; one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an 'aesthetics of separation' which refuses the integrationist implications of the human, the author proposes the 'anthropofugal' - meaning fleeing the human - as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer dynamic arguments into how artists and critics grounded their work in active disengagement, towards the advancement of an ethics of non-dominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely"-
Avant-garde cyberpoetry?
No full textThe article discusses cyberpoetry as a category of avant-garde writing. The author proves that cyberpoertry should not be regarded as modern avant-garde writing, because modern culture does not follow the avant-garde cultural and aesthetic norms (such as novelty, originality). The fact that cyberpoetry applies some avant-garde aesthetic tools (collage and montage) must be regarded as non-avant-garde continuation
An archaeology of Irish cinema: Ireland's subaltern, migrant and feminist film cultures (1973-87)
No full textThis thesis examines the development of an Irish film avant-garde, from the mid 1970s to the late 1980s. The thesis argues that this period was marked by an historically specific intersection between Irish and international film cultures, which can be traced through contemporary film theory, cultural policy and critical practice. This period witnessed a revitalisation of indigenous production, and new initiatives in Irish arts policy, but many important Irish filmmakers trained or began their careers in London and New York, while others were supported by cultural and political agencies outside the state. The thesis focuses on the work of five filmmakers (Bob Quinn, Joe Comerford, Thaddeus O’Sullivan, Vivienne Dick and Pat Murphy) and on three key areas of intersection between Irish and international film culture, associated with the ‘subaltern’, migration and feminism. Through close readings of specific films, supported by interviews with selected filmmakers, distributors and archivists, the thesis develops an expanded model of practice, which extends beyond production to address issues of distribution and exhibition. This archaeology of Irish cinema is informed by post-structural critiques of the archive, as well as theories of the avantgarde, and it argues that the reception of Irish avant-garde film has been structured by the institutional discourses of the museum and the academy
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