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As with other contemporary cultural forms in Britain, such as literature and music, the visual arts were caught in the throes of change during the interwar years, which was both profound and deeply unsettling to established mores and conventions. Although the impact of intellectual modernism and avant-gardism on the visual arts in Britain after 1918 was not nearly as momentous as in some continental countries like France and Germany, many modernist ideas and styles would be adopted at some point during the 1920s and 1930s by native artists. 1 This was a new
‘Poussin was among the first painters to represent this particular moment of the Rinaldo and Armida episode’, 5 but it was an almost simultaneous rendering of the same scene by another young artist with recent first-hand experience of Italy, which helps to establish the earliest connection between Tasso’s poem and the visual arts in England. In the summer of 1628 the Dutch painter Anthony Van Dyck
This book highlights sport as a key inspiration for an international range of modernist artists. With sport attracting large crowds, being written about in the press, filmed and broadcast, and with its top stars enjoying celebrity status, sport has claims to be the most pervasive cultural form of the early twentieth century.
Modernist artists recognised sport’s importance in their writings and production. This book examines a diverse set of paintings, photographic works, films, buildings, and writings from artists in France, Germany, Italy and the Soviet Union to establish the international appeal of the theme while acknowledging local and stylistic differences in its interpretation. From the fascination with the racing cyclist in paintings by Umberto Boccioni, Lyonel Feininger and Jean Metzinger, to the designs for stadiums in fascist Italy and the Soviet Union, the works examined are compelling both in visual and ideological terms.
Encompassing studies of many avant-garde movements, including Italian futurism, cubism, German expressionism, Le Corbusier’s architecture, Soviet constructivism, Italian rationalism and the Bauhaus, this book interrogates the ways in which sport and modernism interconnect.
absolute in his work. This book explores, first, a historical-theoretical approach to Benjamin situating him as a 'contrapuntal thinker' in Pieper's sense, and second, the question of form in Benjamin applied to examples in the visual arts (Rachel Whiteread) and literary criticism (B. S. Johnson). The impetus here is to provide an account of Benjamin that continually crosses antithetical critical domains; this necessarily involves a presentation and discussion of some introductory material (Chapters 2 and 3) before moving on to more abstract and theoretical argument
A shadow fell across Europe during Walter Benjamin's lifetime (1892–1940). That shadow can be called, variously, National Socialism, the Nazi Party, Fascism, the Holocaust or the Shoah. There are other names, but these are among the most significant. 'Shoah' can be translated as 'destruction' or 'catastrophe'. Walter Benjamin took his own life in the year in which the Nazi euthanasia programme was being rigorously implemented by medical staff and others. Benjamin, a German Jew, had been officially 'expatriated' by the Gestapo in May 1939, although he was already living in Paris. After the outbreak of war, Benjamin was placed in a French internment camp, first at the Stade Colombe in Paris, for ten days, and then at Vernuche. As is well known, Walter Benjamin did finally attempt to flee from Europe as Hitler moved his armies into Paris. In many respects, Benjamin's death was only the beginning of the story, as he slowly became mythologized, turned into an intellectual icon of the twentieth century. This book explores, first, a historical-theoretical approach to Benjamin situating him as a 'contrapuntal thinker' in Pieper's sense, and second, the question of form in Benjamin applied to examples in the visual arts and literary criticism. The impetus here is to provide an account of Benjamin that continually crosses antithetical critical domains.
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.
The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.
This book focuses on performance construed in the largest sense, as the deployment of a personal style, as imagery of various kinds, and even as books, which in the early modern era often include strongly performative elements. The chapters in the book fall logically into four groups: on personal style and the construction of the self, on drama, on books, and on the visual arts. Personal style is performative in the simple sense that it is expressive and in the more complex sense that it thereby implies that there is something to express. The book takes a broad view of the question of performance through disguise. Disguises in Elizabethan drama are nearly always presumed to be impenetrable, effectively concealing the self, whereas costume is designed to adorn the self, to make the self more strikingly recognizable. The book considers the changing effects of disguise and costume both on concepts of the self and on assumptions about the kind of reality represented by theater. As a practice that makes performance visible as such, theater is characterized by an ongoing reflection on the very norms that make dramatic performance legible and indeed possible. Images are never more performative in and for a culture than when they offer a view onto the differences through which culture is made.
This book presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.
Architecture and visual arts in general have been subjects of a growing body of recent scholarship connected with the ecclesiastical history of the ‘Long Eighteenth Century’, but little attention has been given to portraiture. Although honourable mention should be made of pioneering work by John Ingamells on painted episcopal portraits, and by Peter Forsaith, very recently, on Methodist portrait prints, other aspects of this extensive subject still await investigation. The article outlines the development of engraved portrayal of clergy, mainly of the Church of England, during the two centuries before production of multiple images was taken over by photography, and indicates how the quantity, variety, and dissemination of such material can provide some index of the priorities of a pre-photographic age. It does not aim to be a comprehensive or a complete survey of the corpus of engraved portraiture; nevertheless, this article provides an initial guide to the abundance of previously unexplored illustrative material, and may suggest a framework for further exploration. It is hoped that future scholars will build on this initial work to enable a complete catalogue of such images to be developed and further explored.