Avant Garde As Method
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| Author | : Steven S. Lee |
| Publisher | : Columbia University Press |
| Total Pages | : 300 |
| Release | : 2015-10-06 |
| Genre | : Literary Criticism |
| ISBN | : 0231540116 |
During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.
| Author | : Bruce Andrews |
| Publisher | : Northwestern University Press |
| Total Pages | : 285 |
| Release | : 1996-08-12 |
| Genre | : Literary Collections |
| ISBN | : 0810113082 |
Paradise & Method: Poetics and Praxis collects nearly two decades of work on poetics by one of the pioneers of the "language poetry" movement. Addressing poetics from a poet's perspective, Andrews focuses on the ways in which meaning is produced and challenged. His essays aim "to map out opportunities for making sense (or making noise)--both in reading and writing contemporary literature. At the center has been a desire to explore language, as up close as possible, as a material and social medium for restagings of meaning and power." Andrews analyzes poetics and the production of meaning; alternative traditions and canons; and innovative contemporary poetry, particularly its break with many of the premises and constraints of even the most forward-looking modernisms.
| Author | : Benjamin H. D. Buchloh |
| Publisher | : MIT Press |
| Total Pages | : 638 |
| Release | : 2003-02-28 |
| Genre | : Design |
| ISBN | : 9780262523479 |
Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions. Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.
| Author | : Boris Groys |
| Publisher | : Verso Books |
| Total Pages | : 145 |
| Release | : 2014-05-27 |
| Genre | : Art |
| ISBN | : 1844678091 |
From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.
| Author | : Ming-Qian Ma |
| Publisher | : Northwestern University Press |
| Total Pages | : 320 |
| Release | : 2008-08-20 |
| Genre | : Literary Criticism |
| ISBN | : 0810124831 |
Grounded in a detailed and compelling account of the philosophy guiding such a project, Ma's book traces a continuity of thought and practice through the very different poetic work of objectivists Louis Zukofsky, George Oppen, Carl Rakosi, and John Cage and language poets Susan Howe, Lyn Hejinian, Bruce Andrews, and Charles Bernstein. His deft individual readings provide an opening into this notoriously difficult work, even as his larger critique reveals a new and clarifying perspective on American modernist and post-modernist avant-garde poetics. Ma shows how we cannot understand these poets according to the usual way of reading but must see how they deliberately use redundancy, unpredictability, and irrationality to undermine the meaning-oriented foundations of American modernism--and to force a new and different kind of reading."--Pub. desc.
| Author | : Andrés Mario Zervigón |
| Publisher | : University of Chicago Press |
| Total Pages | : 330 |
| Release | : 2012-12-01 |
| Genre | : Art |
| ISBN | : 0226981789 |
Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture. Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history.
| Author | : Jean-Louis Cohen |
| Publisher | : Yale University Press |
| Total Pages | : 545 |
| Release | : 2021-01-12 |
| Genre | : Architecture |
| ISBN | : 0300248156 |
An essential exploration of how Russian ideas about the United States shaped architecture and urban design from the czarist era to the fall of the U.S.S.R. Idealized representations of America, as both an aspiration and a menace, played an important role in shaping Russian architecture and urban design from the American Revolution until the fall of the Soviet Union. Jean-Louis Cohen traces the powerful concept of “Amerikanizm” and its impact on Russia’s built environment from early czarist interest in Revolutionary America, through the spectacular World’s Fairs of the 19th century, to department stores, skyscrapers, and factories built in Russia using American methods during the 20th century. Visions of America also captivated the Russian avant-garde, from El Lissitzky to Moisei Ginzburg, and Cohen explores the ongoing artistic dialogue maintained between the two countries at the mid-century and in the late Soviet era, following a period of strategic competition. This first major study of Amerikanizm in the architecture of Russia makes a timely contribution to our understanding of modern architecture and its broader geopolitics.
| Author | : James M. Harding |
| Publisher | : University of Michigan Press |
| Total Pages | : 247 |
| Release | : 2015-10-22 |
| Genre | : Art |
| ISBN | : 0472036106 |
Pronouncements such as “the avant-garde is dead,” argues James M. Harding, have suggested a unified history or theory of the avant-garde. His book examines the diversity and plurality of avant-garde gestures and expressions to suggest “avant-garde pluralities” and how an appreciation of these pluralities enables a more dynamic and increasingly global understanding of vanguardism in the performing arts. In pursuing this goal, the book not only surveys a wide variety of canonical and noncanonical examples of avant-garde performance, but also develops a range of theoretical paradigms that defend the haunting cultural and political significance of avant-garde expressions beyond what critics have presumed to be the death of the avant-garde. The Ghosts of the Avant-Garde(s) offers a strikingly new perspective not only on key controversies and debates within avant-garde studies but also on contemporary forms of avant-garde expression within a global political economy.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 324 |
| Release | : 1986-07-09 |
| Genre | : Design |
| ISBN | : 9780262610469 |
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
| Author | : Garip, Ervin |
| Publisher | : IGI Global |
| Total Pages | : 534 |
| Release | : 2020-11-20 |
| Genre | : Architecture |
| ISBN | : 1799872564 |
Studio environments can be defined as multi-dimensional integrated production spaces where basic design trainings take place and where design issues including theoretical notions such as sociological, political, phenomenological, and other dimensions are discussed. Present approaches within the literature and social media on this topic gives cause for students to evaluate their future professions over finished and pictorial products rather than ontological and processual means. While there are many resources available on the present approaches of aesthetics and visuality of interior spaces, there is not much research available on new design methodologies, related design processes, and new applied methods in interior arcitecture. Based on different contexts, these methods of design practice have the potential to enrich design processes and create multiple discussion platforms within project studios as well as other design media. These different representations and narration methods for research in the context of interior architecture can be effectively used in design processes. The Handbook of Research on Methodologies for Design and Production Practices in Interior Architecture proposes new design methodologies and related design processes and introduces new applied method approaches while presenting alternative methods that have been used within design studios in the field of interior architecture. The chapters deal with four major sections: the design process and interdiciplinary approaches; then scenario development and content; followed by material, texture, and atmosphere; and concluding with new approaches to design. While highlighting topics such as spatial perception, design strategies, architectural atmosphere, and design-thinking, this book is of interest to architects, interior designers, practitioners, stakeholders, researchers, academicians, and students looking for advanced research on the new design metholodologies and processes for interior architecture.
