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Amy Bryzgel

quite varied. A range of local and international developments served as precursors to the performance art that emerged in Eastern Europe in the 1960s and 1970s, although in some cases these practices occurred independently of any identifiable local pre-history, arising from the aims and needs of artists as well as the local context. Across much of the East, Constructivism was a dominant trend in the early part of the twentieth century rather than the destructive and nihilistic forces of Futurism or Dada, despite the fact that it was two Romanian artists, Tristan

in Performance art in Eastern Europe since 1960
From letterpress to offset-lithography
Jesse Adams Stein

Printing Office Staff News (March 1977), p. 3. 22 Smith, ‘Attitudes towards technological change’, p. 3. 23 Ibid. 24 L. Winner, ‘Upon opening the black box and finding it empty: social constructivism and the philosophy of technology’, Science, Technology and Human Values 18:3 (1993), 365; B. Latour, Science in Action: How to Follow Scientists and Engineers Through Society (Milton Keynes: Open University Press, 1987), p. 258. 25 NSWSR, GPO General Correspondence Files 18/2091, ‘Agreement No. 2268 of 1980: between the Public Service Board of the State of NSW and

in Hot metal
Nancy Spero’s manifestary practice
Rachel Warriner

protagonist’, to reimagine women ‘as liberated, even if I know this isn’t really the case’.52 In this way, though Spero’s rhetorical strategy is not straightforwardly 139 140 Mixed messages declarative as might be seen in the more prototypical manifestos that form the historical avant-gardes of Futurism, Dada and Constructivism, it maintains a claim to an authoritative interpretation of perceived socio-political inequality which she explicitly articulates, manipulating her sources where needed in order to drive home her sense of deep and unsustainable injustice

in Mixed messages
Word and image in the twenty-first century. Envoi
Catherine Gander
and
Sarah Garland

Press, 1968). 17 Lucy Lippard, ‘Escape Attempts’ (foreword), in Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (Berkeley, CA: University of California Press, 1997 [1973]), p. xxi. 18 In poetics this often takes the form of ‘a standard line that includes Mallarmé, Apollinaire, Dada, Russian constructivism, lettrisme, concrete and visual poetry’, states Golding, ‘Language Writing’, p. 249.
 19 Janet H. Murray, ‘Inventing the Medium’, in Noah Wardrip-Fruin and Nick Montfort (eds), The New Media Reader (Cambridge, MA: MIT Press, 2003), pp

in Mixed messages
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Spare parts
Elza Adamowicz

Constructivism (Dachy [1994] 2011: 11). It is true that Dadaists collaborated with other avant-garde artists, for example at the Cabaret Voltaire (1916) or the Soirée du Coeur à barbe (1923), while the Congrès de Paris in 1922 was an attempt to bring together, albeit unsuccessfully, international avantgarde groups under the common front of ‘l’esprit moderne’. The Dadaists (including Hans Richter, Raoul Hausmann, Hannah Höch and Franz Seiwert) also participated in the International Congress of Progressive Artists held in ADAMOWICZ 9781526131140 PRINT (4 col).indd 15 31

in Dada bodies
Elza Adamowicz

hanging in his studio) and engineer (an engineer’s drawing is visible on an easel), the New Man of Weimar Germany, striding towards a utopian future (figure 3.8).41 This featureless mechanical figure, informed by Constructivism, is linked to communism’s collective ideal: ‘Man is no longer an individual represented in subtle psychological terms, but rather as a collective, almost mechanical concept’, writes Grosz in ‘Zu meinen neuen Bildern’ (1921: 14).42 The works are not devoid of humour, however, since in John Heartfield’s photomontage Jedermann sein eigner Fussball

in Dada bodies
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Naked ambition
Lauren Jimerson

, women artists in early twentieth-century France remain grossly understudied and excluded from avant-garde history and theory, now, as then. 9 Over thirty years ago, Gill Perry established the necessary foundations for this book in Women Artists and the Parisian Avant-garde. 10 In the introduction, she observed that although the Impressionist period of the late nineteenth century and the twentieth-century movements of Constructivism and Surrealism had garnered significant attention by scholars who critically analyzed

in Painting her pleasure
Open Access (free)
From “mathematical jewel” to cultural connector
Pedro M. P. Raposo

of the Optical Planetarium and a Brief Guide to the Museum . Chicago : The Lakeside Press, R. R. Donnelley & Sons Co . Golinski , J. ( [1998] 2005 ). Making Natural Knowledge: Constructivism and the History of Science . Chicago, London : The University of Chicago Press . Gunther , R. T. ( 1932 ). The Astrolabes of the World, based upon the series of instruments in the Lewis

in Migrants shaping Europe, past and present
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Anna Dahlgren

there emerges a remarkable pattern of continuity, upholding traditions from the late nineteenth century into the the twentieth century and beyond as regards the practice of photocollage. Most art histories put the ‘invention’ of photomontage at c. 1910, used within the art field in constructivism, Dada and surrealism. This chapter maintains that there are several links between different image communities and between image techniques in the nineteenth century. It then argues that the printed press may be regarded as a link that connects the production of photocollage

in Travelling images
Leah Modigliani

collective movement away from the use of photography as a ready-made or indexical imprint, which had been used with political purpose in the 1970s by artists like Hans Haacke and Martha Rosler, towards a renewed commodification of traditional forms of painting.17 Disturbed by this turn of events, critics revisited artists’ use of photomontage in the 1920s. Dada, Constructivism, and Productivism used photomontage in two ways; either as heterogeneous photographic fragments assembled into composite images that worked to create an aesthetic of shock or disruption in viewers

in Engendering an avant-garde