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Publics, protest and the avant-garde
Nick Crossley

I argued in Chapter 2 that social interaction is multivalent, such that musical interaction is often simultaneously also economic interaction, political interaction and has many other dimensions besides. Much of what has followed has unpacked and supported this claim. In this chapter, I return to it one final time by considering music's political dimensions. I begin by considering the political potential which Adorno identifies in avant-garde art music and revisiting, from a political perspective, his critique of popular music. Adorno's views

in Connecting sounds
Abstract only
Andrew Dix

technical nous to compose stories, they emerge instead as contributions to an alternative film aesthetic. Although it is true that from the first decade of the twentieth century onwards narrative film became dominant in the United States, England and elsewhere, this should not lead to the conclusion that the cinema of attractions or the aesthetic of astonishment was simply superseded; rather, as Gunning writes, it ‘goes underground, both into certain avant-garde practices and as a component of narrative films, more evident in some genres (e.g. the musical) than in others

in Beginning film studies (second edition)
Anne Ring Petersen

the West with its self-allotted patent on values such as ‘modernity’, ‘progress’ and the ‘avant-garde’. Thus, it is not the individual works of art that are global. It is the institutional, economic, and discursive systems that sustain their production, distribution and reception which have become globalised. We can, in effect, speak of a global art world in the sociological sense of the word. Charlotte Bydler has mapped the transformations of the institutional, economic and social structures of the art world in her book The Global Art World, Inc. Bydler observes

in Migration into art
Anna Dezeuze

any work of art’: this relative intangibility of poetry as an art form may explain why Filliou defined art as a ‘poetical economy’.43 As Steven Harris has summarised it, poetry appealed to Brecht and Filliou as a ‘noninstrumental mode of thought, one capable of offering a viable alternative to a self-interested instrumental reason used to dominate nature and other human beings’.44 Although neither the Games at the Cedilla nor Knowles’s Identical Lunch took on the form of traditional or avant-garde poetry, their literary nature certainly brings them closer to the

in Almost nothing
Ruth Pelzer-Montada

: University of Michigan, Museum of Art . Tang, Xiaobing , Hui, Shang and Farrer, Anne . 2007 . Origins of the Chinese Avant-Garde: The Modern Woodcut Movement . Berkeley: University of California Press . Education Ganter

in Perspectives on contemporary printmaking
From the 1960s to the 1990s
Nizan Shaked

elaborate upon conceptualist devices by bringing feminism to bear on the criticism of art institutions, by using critical race discourses and postcolonial analysis to question the ideology of knowledge and method, and by rethinking avant-garde strategies for both art and activism during the AIDS crisis. In the late 1980s and 1990s, the synthetic proposition was debated in various guises in colloquies about identity politics and multiculturalism that raised issues of the universal versus the particular, or in conversations that examined the site of the political in art.24

in The synthetic proposition
Georges Didi-Huberman

. Baltimore, MD, United States: Cornell University Press .] Krauss , R. E. ( 1986 ) The Originality of the Avant-Garde and Other Modernist Myths . Cambridge, MA: MIT Press . Krauss , R. ( 1993 ) L'originalité de l'avant-garde et autres mythes modernistes . 3rd edn. Paris: Macula . Le Bot

in Perspectives on contemporary printmaking
Aura and reproduction in the post-print age
Clare Humphries

, Amsterdam . Benjamin , A. 1991 . The Decline of Art: Benjamin's Aura, in Art Mimesis and the Avant-Garde . Routledge, London , 138–49 . Benjamin , W. 1999 [1982]. The Arcades Project , ed. Rolf Tiedemann , trans. Howard Eiland and Kevin McLaughlin. Harvard

in Perspectives on contemporary printmaking
Caroline Turner and Jen Webb

classification. He has said, ‘As an artist I  use my art as my weapon, to crash the public, to change what I  disagree with’,91 which is reminiscent of the great ‘anarchist’ poet Stéphane Mallarmé and his ‘I know of no bomb other than a book’. Mallarmé, whose work and ideas influenced many early twentieth-century artists, belongs within a genealogy of anarchist avant garde artists. This genealogy dates from the late eighteenth century in Europe, with activists and artists reacting against the massive socioeconomic and political disruptions.92 Michael Scrivener traces the line

in Art and human rights
Abstract only
Nizan Shaked

synthetic proposition abstraction and observe the change instead in the transition by artists to address specific issues. On the rise since the 1970s, the tendency to reference subject matter in some ways reversed almost a century of an avant-garde turn to abstraction. Abstraction was heralded as the highest accomplishment of modernist American art by such important figures as the critic Clement Greenberg and Museum of Modern Art director Alfred Barr, an ideology that, as I will discuss in Chapter 3, lingered overtly or covertly in movements of art and criticism that

in The synthetic proposition