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Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

7 The dispute over simultaneity: Boccioni – Delaunay, interpretational error or Bergsonian practice? Delphine Bière Delphine Bière The dispute over simultaneity The dispute opposing the Futurists and Robert Delaunay between 1913 and 1914 focused on notions that were commonly discussed among the avant-garde and gave those artists the opportunity to define their own conception of simultaneity. This dispute also demonstrated the overlapping of various trends in contemporary art, and the artists’ endeavours to distinguish themselves from one another at a time when

in Back to the Futurists
Recorded sound and the state of audio play on post-‘golden age’ US network radio
Harry Heuser

plays of the 1950s that sets them apart from the experimental radio plays of the 1930s as well as from the emerging ‘audio art’ of the time? And how might a belated engagement with them contribute to the discourse on the avant-garde from which they are generally excluded? I shall consider this expansive brace of questions in relation to the state-of-the-art recording technology of the 1950s that, adopted and adapted by artists such as John Cage and Nam June Paik, not only played an important role in the evolution of sound art but also revolutionised network

in Tuning in to the neo-avant-garde
Leah Modigliani

engaged – past. The houses in Ruins can also be viewed as commodities, as serial boxes laid across the hill in a grid, like Donald Judd and Sol Lewitt’s numerous minimalist sculptures of similar forms from the same time period. Ruins was 115 116 Engendering an avant-garde 7  N.E. Thing Co., Ruins, 1968 (reassembled 1990), Cibachrome transparency, lightbox, 40.6 × 50.8 × 12.7 cm. Photo: Robert Bos. completed after Dan Graham’s project Homes for America (Figure 8) appeared in Arts Magazine and is indebted to its precedent.10 Both Jeff Wall and Ian Wallace were

in Engendering an avant-garde
Jandl and Mayröcker’s radio play Spaltungen
Inge Arteel

Inge Arteel This chapter will consider the radio play Spaltungen ( Splits ), written in 1969 by Ernst Jandl (1925–2000) and Friederike Mayröcker (b. 1924), two leading authors of the Austrian neo-avant-garde. When reading the scripts of Jandl and Mayröcker’s jointly written radio plays of the late 1960s one is struck by the ubiquitous presence of collective figures and voices, often explicitly marked as choruses and presented in relation to anonymous single voices. In their well-known radio play Fünf Mann Menschen ( Five Man Humanity , 1967), the

in Tuning in to the neo-avant-garde
Identity and community among migrant Latin American artists in New York c. 1970
Aimé Iglesias Lukin

Introduction In the winter and spring of 1971, dozens of expatriate Latin American artists gathered in apartments and studios of New York, to discuss politics and art, and – although they did not know it – to reclaim the identity of Latin American art. Through their activism and common art practice, they were able to contest stereotyping labelling of the region’s culture and to gain visibility in the competitive milieu of the Big Apple, collectively creating a space of their own. Their case brings light to the diversity of the neo avant-garde movements of

in Art and migration
Yulia Karpova

minimalist black porcelain vase produced in the early 1960s at Leningrad Porcelain KARPOVA 9781526139870 PRINT.indd 122 20/01/2020 11:10 From objects to design programmes 123 Factory after the design of Anna Leporskaia, a ‘veteran’ of the avant-garde (plate 10). For Riabushin and his colleagues at Department No. 8 in VNIITE, dedicated to ‘ordering the everyday environment in general’,29 designing clocks was an opportunity to express a rationalised daily routine. After being commissioned to design a new model of alarm clock for the Rostov clock factory, Department

in Comradely objects
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Philippe Garrel, an irregular auteur
Michael Leonard

vast heterogeneous body of French cinema that developed in its aftermath. This anomalous position is compounded by an oeuvre that often resists straightforward exegetical criticism, and challenges traditionally held critical oppositions such as those of the real and the imaginary, documentary and fiction, political and personal, avant-garde and mainstream. This study traces the irregularity of the film-maker’s oeuvre and situates it within the context of French film culture, history and society. It contends that in addition to making him an important figure in

in Philippe Garrel
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Horror and the avant-garde in the cinema of Ken Jacobs
Marianne Shaneen

words, cinema enacts animal sacrifice to perpetuate the life of the image. Indeed, all film is horror film. American avant-garde filmmakers from Maya Deren to Harry Smith have followed this spectral path, illuminated by magic lanterns, Phantasmagoria spectacles and the magic of Georges Méliès. For Stan Brakhage, light, or lumen , held the status of a supernatural force. The

in Monstrous adaptations
Fred Herko’s history lesson
Paisid Aramphongphan

performances, building on an earlier critique along similar lines in art history. 4 These alternative narratives have shown us how certain types of performances were relegated to the sidelines, seen as excess, outside of the lines of the avant-garde, and written out of history. But what brought about these lines and divisions in the first place? This chapter first goes back to that early 1960s moment, and spells out how certain discursive lines came to be drawn, and, more importantly, how period critical discourse and homophobia together served to reinforce these lines

in Horizontal together
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Between gas mask and carnival dance
Elza Adamowicz

2 Zurich Dada: between gas mask and carnival dance Was wir zelebrieren ist eine Buffonade und eine Totenmesse zugleich. Hugo Ball (1996: 56)1 The European avant-garde and the First World War: from utopia to dystopia ‘We intend to glorify war – the only hygiene of the world’, declared the Italian poet Philippo Tommasso Marinetti in his ‘Founding and Manifesto of Futurism’, published in Paris on 20 February 1909 in Le Figaro (Rainey et al. 2009: 51). His statement epitomises the position of many of the avant-garde writers and artists of pre-1914 Europe, who

in Dada bodies