Playing In The Wunderkammer, 2017 University of Iowa
Playing In The Wunderkammer, Jonathan Carson, Rosie Miller
No abstract provided.
Stavrinaki, Maria. Dada Presentism, 2017 Western University
Stavrinaki, Maria. Dada Presentism, Maxwell Hyett, Julian Jason Haladyn
No abstract provided.
Notes On Contributors, 2017 University of Iowa
Notes On Contributors
No abstract provided.
Circulations, Resémantisations. Le Palimpseste Aporétique, 2017 Ecole normale supérieure. Université de recherche Paris Sciences Lettres.
Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel
Pourquoi trouve-t-on si peu d’études sur les resémantisations à l’œuvre dans les circulations artistiques ? Pourquoi dispose-t-on encore moins de théorie générale pour comprendre ces resémantisations ? Ce papier, s’interrogeant sur les questions que lève une approche circulatoire de l’histoire de l’art, passe en revue les méthodes et les sources qui peuvent contribuer à y répondre. Qu’est-ce qui porte le sens d’une œuvre d’art ? Comment le sens se constitue-t-il et évolue-t-il selon les temps et les lieux ? Quels sont les facteurs qui le font changer ? Quelles sont les conséquences possibles d’une resémantisation artistique ...
Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme., 2017 Ecole Normale Supérieure de Paris
Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme., Claudia Grego
Tout au long de sa carrière, Antoni Tàpies (1923-2012) fut partisan d’un modèle interprétatif qui permit l’appropriation individuelle de ses œuvres. Le peintre fut le défenseur et le bénéficiaire d’un mode de signification du tableau qui n’était ni univoque, ni prédéterminé. Dans cet article, on analysera comment cette ductilité interprétative a permis la resémantisation politique des œuvres de Tàpies pendant l’époque du franquisme (1939-1975). Guidés par une de ses premières créations, Croix de journal (1946 – 1947), nous tracerons les déplacements de ses toiles pour classifier les déclinaisons sémantiques de l’œuvre en trois grandes étapes ...
The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), 2017 Jawaharlal Nehru University
The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud
This article analyzes the reception of Modern European Art in Calcutta in the early decades of the twentieth century. In the initial years, the knowledge of the European avant-gardes was limited. It then got rejected as a legitimate source of influence by the Bengal School ideologues close to the nationalist movement. In the early 1930s, the painter Jamini Roy paved the way for a new aesthetics which rejected the Bengal School ideological project and turned to folk arts as models. The style he pioneered naturally appealed to the global modern sensibility. The 1940s are marked by a phase of enthusiasm ...
« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, 2017 Ecole Normale Superieure de Paris
« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret
Cet article examine les stratégies d'identification mises en œuvre par les artistes allemands et autrichiens exilés en France au moment où les expositions d'art « dégénéré » circulent dans l'Allemagne hitlérienne. Dans un contexte de tensions internationales et d'accueil méfiant des réfugiés allemands en France, certains collectifs d'artistes se définissent tour à tour comme fers de lance de l'« autre Allemagne », d'un héritage français de liberté artistique ou d'une « Internationale » artistique. En revanche, ces artistes ne franchissent pas le pas d'un « retournement du stigmate » (Goffman) vis-à-vis du qualificatif nazi « dégénéré ».
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, 2017 Katholieke Universiteit Leuven
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti
Following his move to Paris at the end of 1933, Wassily Kandinsky clung to his conviction that art must remain free of politics. The purpose of this essay is to consider both the limitations and advantages of this position in the polarized political climate of the French capital and to chart the aesthetic path he embarked on after his arrival, with particular reference to the personal ties and artistic alliances that he forged (or not) in this complex cultural terrain. Far from having nothing to do with politics, the transformation his painting underwent in Paris, the period he dubbed “synthetic ...
Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, 2017 Art Center College of Design
Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs
A little known group of Hungarian artists who were students at the Hungarian Academy of Fine Arts, Budapest in 1927-1930, joined by a few artists from outside the Academy, were modernists, explored the Soviet Russian avant-garde and abstraction, and therefore were rejected by the mainstream, official art in Hungary. However, the strictly principled left-wing Munka (Work) Circle of Lajos Kassák was not hospitable to therm, either. Members of “The Progressives” group left Hungary in 1930. The increasingly classicist Hungarian avant-garde did not tolerate bias; thus the idiosyncratic poet and artist Tamkó-Sirató had to leave Hungary, too and develop his Dimensionism ...
From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, 2017 Università Ca' Foscari Venezia
From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou
The purpose of this article is to illustrate a little known episode of Salvador Dalí’s initial intervention in the surrealist movement: his relationship with Catalan writer Josep Vicenç Foix. To what extent writers such as Foix adapted Surrealism in his own writing and what kind of exchanges he had with Paris? Was Foix a predecessor of Dalí’s surrealist writing? As early as 1918, J.V. Foix made an impact in Catalan literary circles and one of the first imitators of Apollinaire (and maybe Breton). After 1926 Foix he developed a close relationship with Dalí and helped him with ...
Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, 2017 Universidade Nova de Lisboa
Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal
This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance.
Collaboration Revisited: The Performative Art Of Claude Cahun And Hannah Weiner, 2017 The Graduate Center, City University of New York
Collaboration Revisited: The Performative Art Of Claude Cahun And Hannah Weiner, Phillip L. Griffith
All Dissertations, Theses, and Capstone Projects
In its most common usage in the artistic context, collaboration refers to a practice of creation in which two artists work together to produce a single artwork or object. Collaboration Revisited: The Performative Art of Claude Cahun and Hannah Weiner focuses on the nexus of photography, writing, and performance in the work of six female avant-garde artists from the transatlantic twentieth century, informed by the important place of surrealism in that history, to reconsider this understanding of collaboration. Instead of the notion of collaboration as founded in the experience of two artists working together in each others’ presence, I examine ...
A Period Examination Through Contemporary Energy Analysis Of Kevin Roche’S Fine Arts Center At University Of Massachusetts-Amherst, 2017 University of Massachusetts - Amherst
A Period Examination Through Contemporary Energy Analysis Of Kevin Roche’S Fine Arts Center At University Of Massachusetts-Amherst, L Carl Fiocchi Jr
L. Carl Fiocchi
Studies of buildings belonging to a subset of Modernist architecture, Brutalism, have included discussions pertaining to social and architectural history, critical reception, tectonic form and geometry inspirations, material property selections, period technology limitations, and migration of public perceptions. Evaluations of Brutalist buildings’ energy related performances have been restricted to anecdotal observations with particular focus on the building type’s poor thermal performance, a result of the preferred construction method, i.e. monolithic reinforced concrete used as structure, interior finish and exterior finish. A valid criticism, but one that served to dismiss discussion that the possibility of other positive design strategies ...
Beginner's Mind, 2017 University of New Orleans, New Orleans
Beginner's Mind, Martin L. Benson
University of New Orleans Theses and Dissertations
My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the ...
Freed From Fascism: Berlin's Gallery Culture In The Aftermath Of World War Ii, 2017 Chapman University
Freed From Fascism: Berlin's Gallery Culture In The Aftermath Of World War Ii, Brooke Fessler
Student Scholar Symposium Abstracts and Posters
In post-World War II Germany, the city of Berlin was left in ruin after six years of war. A nation ripped apart both physically and at its governmental core was finally freed from Nazi fascism in 1945, and the German people were finally able to reconstruct their culture. Born out of years of strict regulation of the German art world, a new type of art was put on display. Focusing specifically on gallery culture in Berlin in the post-war years, one can see how twelve years of classically influenced Nazi art gave way to a push towards the avant-garde. The ...
A Corpus In First-Person: Weegee And The Performance Of The Self, 2017 CUNY Hunter College
A Corpus In First-Person: Weegee And The Performance Of The Self, Emily Annis
School of Arts & Sciences Theses
This thesis explores the varied platforms that the Austrian-born New York photographer Weegee engaged with to perform his public self-fashioning from the beginning of his career as a news photographer in the mid-1930s through the publication of his first two photo-books, Naked City (1945) and Weegee’s People (1946).
Black Matter, 2017 Washington University in St. Louis
Black Matter, Kahlil Irving
Graduate School of Art Theses
History as we know it, is inherited. Racism, fascism, white supremacy, and Eurocentric dominance have been presented as normal and acceptable within our society for many years. This has allowed police officers to execute Black American’s and not be acquitted for their horrendous crimes. As an activist I want to challenge the status quo. As an artist I am interested in investigating how I can present ideas embody or reflect contemporary issues and concerns. Using different colors can aggressively change how an object is perceived. Historical objects hold many important.
I explore many mediums, but an anchor material that ...
The Possibilities Of The Video Game Exhibition, 2017 CUNY Hunter College
The Possibilities Of The Video Game Exhibition, Elizabeth Legere 2762328
School of Arts & Sciences Theses
This paper is an examination of video games as an artistic medium, and of their current presentation in art museums like the Museum of Modern Art in New York, as well as an attempt to come up with better modes of presentation for them within a museum space. Using a general understanding of video game theory and aesthetics, it might be possible to begin to look at solutions to the issues posed by current methods of presentation and interpretation, and to examine whether video games’ complicated aesthetic and artistic importance can be better highlighted by a new mode of display ...
Dinner, 2017 University of Arkansas, Fayetteville
Dinner, Daniel Reuben Baskin
Theses and Dissertations
Dinner is an interactive exhibition which presents appropriated works of art collected and hung in a clustered salon style, as well as a fully realized recreation based on a 16th century Dutch banquet still-life, which presents guests with meats, cheeses, fruits, vegetables, breads, and wine to share and imbibe. Dining ware is provided for guests at the entrance to the exhibit, as are suggested topics of conversation, which are presented on slips of paper for guests to carry with them throughout their time in the space. Within the collection of wall-mounted works are references to ancient Greek and Roman marble ...
Nameless Art In The Mao Era, 2017 College of William and Mary
Nameless Art In The Mao Era, Tianchu Gao
Undergraduate Honors Theses
This research project focuses on the first generation of No Name (wuming 無名), an underground art group in the Cultural Revolution which secretly practiced art countering the official Socialist Realism because of its non-realist visual language and art-for-art’s-sake philosophy. These artists took advantage of their worker status to learn and practice art legitimately in the Mass Art System of the time. They developed their particular style and vision of art from their amateur art training, forbidden visual and textual sources in the underground cultural sphere, and official theoretical debates on art. The history of No Name not only reveals ...