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singular gambit in the avant-garde game of reference, deference and difference ? 3 A brief overview of Lee Krasner’s painting from the 1940s to the late 1950s reveals that she might be a creative Bataillist. Like all the artists of her generation and ambition, she had to take on haunting presences, from Cézanne to Picasso to her co-creating contemporaries such as Pollock and de Kooning, and process – but not exactly obliterate – them as much as aesthetically transform them, right there, on her canvas, precisely
7 The final films Le Mystère Picasso and Les Espions both showed Clouzot attempting to renew himself, with an experimental documentary and an absurdist thriller. Though critics noted these innovations with varying degrees of approval, neither film drew the large audiences to which he had become accustomed over the previous decade. La Vérité, released in November 1960, returns to a more familiar, conventional manner. This well-crafted courtroom melodrama, starring Brigitte Bardot, ably supported by the director’s stalwarts Paul Meurisse, Charles Vanel and Louis
twentieth century: Surrealism, the Groupe Octobre and the Left, Poetic Realism, Miró, Picasso. If Audiard and Jeanson are screenwriting stars, Prévert has attained the status of myth. Roland Barthes ( 1957 ) has described the function of myth: to render a constructed entity natural, thus emptying it of its political signification. The mythologising of such a deeply political figure
de dés was a recasting of Igitur , in a chain of influences and references that project modernism into a post-Second World War timeline. The final chapter of this section, Lisa Florman’s ‘Behind Picasso’s pins’, turns to Picasso’s use of pins in his papiers collés to illustrate some of the tensions and divisions that not only structure the pasted paper works themselves, but also characterize the field of the visual arts as it existed in France in 1913. By bringing mass-produced industrial objects, the pins, into the representational space, Florman argues
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.
erasures (coin for key, image for object, shadow for person, paintings that are copies or that never were signed by artists who didn’t paint them; de Hory literally invents Giacometti paintings that were never painted and the fictional grandfather invents an entire Picasso ‘period’). Truth205 Most of the material in the film was shot not by Welles but by Reichenbach for a film he was making on Elmyr de Hory. Some of the sequences were indeed shot by Welles but most of the film, in so far as it is a Welles film, is a film made in the editing room. If the characters are
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.
This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
regimes.
Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.
centralism are imprinted in Pablo Picasso’s Guernica , a painting ‘widely associated with the transition of a nation from dictatorship to democracy’. 7 If Catalan and Basque nationalists have long claimed that, to borrow a phrase from E. Inman Fox, ‘the problem of Spain was founded in Castilian primacy’, 8 the 2019 conviction of nine Catalan leaders by the Spanish Supreme Court for sedition has turned them into martyrs and showcased evidence of ‘a resurgent Spanish nationalism that has little propensity to recognize or the capacity to accommodate other nationalisms’. 9
example the paintings of Rauschenberg (his Combines), of Picasso (his collages), the density of citations in the films of Godard (his Histoire(s)), the music of Ravel and Stravinsky (their use of popular motifs and their incorporation of jazz), the writings of Carlo Emilio Gadda, one of Pasolini’s literary models, who juxtaposed not only texts but languages and speech, as Godard does and Pasolini does (Italian, Latin, dialect, the slang of the slums), and as modern composers do. But Godard and certainly Picasso, Rauschenberg and the Pop artists, though they cite and