Catherine Brooks’ text is an excerpt from the aforementioned Manual. Her short autobiographical account meditates on the close – and often surprising – interconnections between human and material, culinary and artistic relationships in the context of her work at Crown Point Press in San Francisco and Atelier René Tazé in Paris. True to the title, the colour yellow is the binding agent in the tale.
Australian artist and educator Deidre Brollo explores and problematises the frequent and powerful metaphor of ‘imprint’ and ‘impression’ – since antiquity – in relation to memory. Drawing on recent neuroscientific theories, she counters the assumption of a static and passive notion of memory storage with current, ‘dynamic’ and ‘distributed’ models of memory.
The final text in Part II is Canadian artist and educator Barbara Balfour’s contribution to Toronto’s Open Studio’s 2010 symposium Printopolis. As with other authors in this book, in thinking about the ontology (the ‘what’ of the title) and the decision for the making of prints (the ‘why’) in a postdisciplinary art context, Balfour rejects the dominant focus on technical matters. Instead, she presents theoretically astute reflections on her chosen topics that are grounded in and informed by practice.
In the context of an increasingly ‘post-disciplinary’ art context, Matthew Perkins asks as to the implications for a higher art education that has historically been structured according to medium-specific disciplines. He interrogates the notions of the terms ‘discipline’ as well as ‘medium’, both tied to the functioning of ‘the studio’.
Art in the distributed field and systems of production
Print artist and cultural theorist Johanna Drucker’s text was one of the keynote speeches at the IMPACT 7 International Printmaking Conference 2011 in Melbourne. She considers the theoretical implications of emergent practices of production and dissemination that cross media and platforms, disregarding established notions of fixed objects.
The legacy of Der Blaue Reiter in the art of Paul Klee and Nacer
This chapter takes as its starting point Die Tunisreise, a 2007 film about
Paul Klee’s journey to Tunisia in 1914, by the Swiss filmmaker Bruno Moll
and Tunisian filmmaker and artist Nacer Khemir. In the film, Khemir retraces
the Tunisian journey and reflects on the significance of the Swiss
modernist’s appropriation of Tunisian visual culture for his own
wide-ranging artistic practice. Whereas Klee’s Tunisian watercolours and
related works have often been understood within the framework of
Orientalism, McGavran draws upon post-colonial theory to argue that the
primitivism of Der Blaue Reiter underpins Khemir’s appreciation for Klee and
to elaborate upon cultural exchange between Europe and its former colonies
This chapter examines theoretical issues of the avant-garde in Der Blaue
Reiter and women artists’ strategies in relation to the male hierarchy of
the group. It proposes a revision of binary thinking about the nature of
masculine and feminine identity through a study of selected works by
Gabriele Münter and Marianne Werefkin. In considering critical reception and
the correspondence of the writer, poet and artist Else Lasker-Schüler, the
chapter argues that Der Blaue Reiter harboured more complex and performative
notions of gendered authorship and agency.
In an echo of the prologue, the book closes with an open-ended series of questions and provocations. The epilogue is inspired by Susan Sontag’s essay ‘Notes on “Camp”’ and uses a similar notation form to remix There Is No Soundtrack’s major discussions and debates, also to introduce new artists and works, and generate topics and areas of research for future investigation. As Steven Feld points out, time and space are mutually reinforced in acoustics, therefore this new politics of space is also temporal. The complex reverberations between linear and non-linear notions and expressions of time, duration, history, memory, and subjectivity similarly stretch, loop, and recalibrate what Francois Lyotard calls ‘capitalist time’. While reckoning with questions including whether modern sound technology played a role in time’s colonization, There is no soundtrack concludes by opening up an important new dimension to review and consider anew its discussion on sound, image, space, and perception.
Der Blaue Reiter, Francophilia and the Tate Gallery, 1960
Nathan J. Timpano
In August 1960, the Arts Council of Great Britain, in conjunction with the
Edinburgh Festival and the Tate Gallery, launched a major retrospective
exhibition of Der Blaue Reiter artists, the first show of its kind in the UK
to collectively introduce the group to the British public. According to the
contemporary press, however, the exhibition was a failure when it moved to
the Tate in late September. Critics and art historians alike derided the
show for being too intellectually-minded, arguing that it spoke only to the
erudite few who were already familiar with the Munich-based movement.
Building upon the critical literature at mid-century, this chapter proposes
a re-evaluation of the 1960 Tate exhibition and its curatorial agenda.
Instead of suggesting that the show was inherently flawed because of its
programme, it argues that the aesthetically non-unified style of Der Blaue
Reiter was, in part, responsible for the show’s non-laudatory praise. As
such, this chapter advances a rethinking of Der Blaue Reiter as a
cosmopolitan movement that vacillates between historical and artistic
significance, and considers how a bias for French modernism may have
affected the manner in which the Tate exhibition was received in post-war
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.