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Leah Modigliani

-feminist, and Romantic ‘centrist’ currents all contested the modes of dramatization, the mise-en-scène of social and sexual life. This is the ideological content of ′70s art, which produced so much discourse and so much discomfort, and which gave way to a counter-movement of affirmation around 1980. Jeff Wall2 While the development of an avant-garde in Vancouver initially depended on the regionally specific renouncement of homeland and the hegemonic inner landscape, by 1978 it was also forced to negotiate the poststructuralist challenge of contemporary feminist aesthetics

in Engendering an avant-garde
Chagall’s Homage to Apollinaire and the European avant-garde
Annette Becker

The 1912 painting Homage to Apollinaire was the work of a Russian artist who lived in Paris, Marc Chagall, and stands out in art history as a synthesis of the links – real, virtual and concealed – tying together the European avant-garde, what Apollinaire termed ‘the most radical’ of artistic movements. 2 The term ‘avant-garde’, 3 which arose in military discourse, enabled artists to appropriate a culture of conflict, of ‘progress’, of innovation, of a break with conventional artistic tradition and the academy. It entailed a move towards utopia, as

in 1913: The year of French modernism
Douglas Field

Despite publishing nearly forty books between 1963 and 2003, Jeff Nuttall remains a minor figure in the history of the International Underground of the long 1960s. Drawing on his uncatalogued papers at the John Rylands Library, this article seeks to recoup Nuttall as one of the key architects of the International Underground. In so doing, my article argues that Nuttalls contributions to global counterculture challenge the critical consensus that British avant-garde writers were merely imitators of their US counterparts. By exploring the impact of Nuttalls My Own Mag (1963–67) and Bomb Culture(1968), it can be shown that Nuttall was a central catalyst of, and contributor to, the International Underground. As a poet, novelist and artist, Nuttalls multidisciplinary contributions to art were at the forefront of avant-garde practices that sought to challenge the perceived limitations of the novel as a social realist document and visual art as a medium confined to canvas.

Bulletin of the John Rylands Library
Author: Katia Pizzi

This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.

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Cinema, documentary, and the visual arts
Author: Des O’Rawe

Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.

Open Access (free)
Soviet things that talk
Yulia Karpova

preoccupied the minds of state and Party authorities, experts of different profiles and ordinary people. However, state socialism not only provides fertile soil for ‘new materialist’ and ‘object-oriented’ design histories. It also offers a theoretical precedent: the concept of a ‘comradely object’. This idea developed within the Russian avant-garde of the 1920s and proved resilient, lasting well into the late Soviet period. Comradely objects and overlooked subjects One branch of the Russian avant-garde in the early 1920s is known as ‘productive art’ (proizvodstvennoe

in Comradely objects
Douglas Field and Jay Jeff Jones

The exhibition Off Beat: Jeff Nuttall and the International Underground (8 September 2016 to 5 March 2017) showcases the archive of Jeff Nuttall (1933–2004), a painter, poet, editor, actor and novelist. As the exhibition illustrates, Nuttall was a central figure in the International Underground during the 1960s through to the early 1970s. During this time he collaborated with a vast network of avant-garde writers from across the globe, as well as editing the influential publication My Own Mag between 1963 and 1967.

Bulletin of the John Rylands Library
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The red Atlantic
Barnaby Haran

Introduction: the red Atlantic This book concerns the cultural responses of the American avant-garde to the Soviet Union during the period from the foundation of the USSR to its recognition by Franklin Delano Roosevelt’s government in 1933. The Americans in this study who watched the ‘Red Dawn’ were variously artists, architects, designers, writers, curators, collectors, critics, and journalists, all of whom were fascinated by the epic transformations of revolutionary Russia and enthused by the possibilities for new forms of art that would match this epochal

in Watching the red dawn
The bride stripped bare?
Elza Adamowicz

swords cross; secondly, and less belligerently, as a crossing of paths, a place where Cubism and Futurism intersect and dialogue; and thirdly as a pictorial space of convergence between Léger’s practice and that of the wider avant-garde. In situating La noce in relation to contemporary discourses, the underlying argument of this study is not merely that paintings are situated at the intersection between a pictorial practice and a verbal narrative but that paintings are above all a discursive reality, as Roland Barthes (1982: 140) has argued in his discussion of the

in Back to the Futurists
Ory Bartal

1 Postmodern critiques, Japan’s economic miracle, and the new aesthetic milieu The social revolution that erupted in 1968 led a number of avant-garde designers and architects working in the early 1970s to take decisions that radically reshaped the course of Japanese design history. Working in Tokyo, the graphic designers Ishioka Eiko and Tanaka Ikkō, the fashion designers Issey Miyake and Rei Kawakubo, the interior and product designers Kuramata Shirō and Uchida Shigeru, and the architects Andō Tadao and Isozaki Arata, among others, all contributed to the

in Critical design in Japan