Avant‐Garde in the Age of Identity: Alvin Boyarsky, the Architectural Association and the Impact of Pedagogy

2019 ◽  
Vol 89 (4) ◽  
pp. 30-37
Author(s):  
Igor Marjanovic
Keyword(s):  
Avant Garde ◽  
The Impact ◽  
Architectural Association

The Closing and Lasting Impact of CLAEM

2020 ◽  
pp. 162-176
Author(s):  
Eduardo Herrera
Keyword(s):  
Latin American ◽  
Classical Music ◽  
Social Bonds ◽  
American Art ◽  
Art Music ◽  
Lessons Learned ◽  
Latin American Art ◽  
American Composers ◽  
Avant Garde ◽  
The Impact

This chapter evaluates the conditions leading to the closing of CLAEM and the impact the center as a whole had on the Latin American art music scene. Touching upon the three main themes of the book, the chapter discusses the lessons learned and the weaknesses revealed from the most significant philanthropic incursion into avant-garde art music in Latin America, and the lasting legacy of a generation of fellowship holders, both in terms of their embrace or rejection of the avant-garde, and their adoption of an identification as Latin American composers based on strong and intimate social bonds. It argues that the impact that the relatively short-lived center had during the following fifty years on the classical music of the region was the result of calculated philanthropic efforts, the embodied and multi-faceted embrace of avant-garde ideas, and the conscious and strategic construction and identification of Latin American composers.

Artists’ archives: preserving the documentation and collections of an artist organization

2002 ◽  
Vol 27 (2) ◽  
pp. 22-27
Author(s):  
Darlene Tong
Keyword(s):  
Avant Garde ◽  
Key Issues ◽  
Alternative Art ◽  
Art Activities ◽  
The Impact

A wealth of primary documentation has been produced and collected by artists and artist-run organizations since the 1970s. Alternative art activities were often time-based and experimented with form and material, and documentation has become essential as a means to study and understand the intent, the actualization and the impact of artworks. What are the key issues for artists, archivists and researchers interested in the collection, preservation and provision of future access to the archives of the avant-garde?

scholarly journals RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE

2020 ◽  
Vol 58 ◽  
pp. 203-224
Author(s):  
Magdalena Kostova-Panayotova ◽  
Keyword(s):  
20Th Century ◽  
Literary Modernism ◽  
Avant Garde ◽  
Russian Symbolism ◽  
Fiction Writers ◽  
Russian Literary ◽  
Russian Modernism ◽  
The One ◽  
The Impact ◽  
European Form

The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of features of the poetics from different avant-garde currents, both in the works of individual authors and in the works of a single writer appeared as a typical phenomenon in the life of the Bulgarian avant-garde. Such poets as N. Furnadzhiev, A. Raztsvetnikov, N. Marangozov and others, and fiction writers as Ch. Mutafov, A. Karaliychev, A. Strashimirov, J. Yovkov, repeatedly experienced the influence of contradictory modernist and avant-garde currents, however, in their works they managed to add the “European form” to the “Bulgarian content”. The study also involves Bulgarian avant-garde journals such as Crescendo, Libra/Vezni, etc. This paper argues that by going against the rules, the avant-garde writers created a productive artistic method, a kind of alternative classic.

scholarly journals ANTON AŽBE AND HIS SOUTH SLAVIC STUDENTS

2020 ◽  
Vol 58 ◽  
pp. 300-307
Author(s):  
Yulia S. Meretskaya ◽  
Keyword(s):  
Teaching Method ◽  
Skill Training ◽  
Technical Skill ◽  
Russian Art ◽  
Avant Garde ◽  
Stylistic Development ◽  
The World ◽  
New Ideas ◽  
Approach To Teaching ◽  
The Impact

In 1891, a private art school led by Anton Ažbe (1862–1905), a Slovenian artist and teacher, opened in Munich. A lot of artists from all over the world studied at the school during its operation. Anton Ažbe’s approach to teaching, which was based on the “Sphere Principle” and the “Crystallization of Color Principle”, influenced stylistic development of the European and Russian art in the late 19th – early 20th centuries. The distinctive feature of Ažbe’s method was a combination of thorough technical skill training and openness to new ideas, which would bring out students’ personal creative talents. The school's alumni were later engaged in quite different areas of style, including the avant-garde. This paper offers brief overviews of the artistic careers of Ažbe’s most famous South Slavic students — Slovenes, Serbs and Croats; it also discusses some aspects of their relationships with their teacher and analyzes the impact of Ažbe’s teaching method on their stylistic development. Thus, the oeuvre of the Slovenian Impressionists R. Jakopič, I. Grohar, M. Yama and M. Sternen, of the Croatian painters J. Račić and O. Hermann and of the Serbian artist N. Petrović have been consistently examined. The author concludes that the Ažbe’s South Slavic students consistently introduced elements of his painting principles into the art of Slovenia, Serbia and Croatia.

scholarly journals The Impact of Cezanne in Early Cubism

2022 ◽  
Vol 9 (1) ◽  
pp. 41
Author(s):  
Enrique Mallen
Keyword(s):  
Focus Of Attention ◽  
Avant Garde ◽  
The Moment ◽  
The Impact

The 1907 Salon d’Automne included a Cézanne retrospective. Comprising fifty-six of his works, most of them oils, it featured a group of late paintings, among them some nominally “unfinished.” It had not been until his final years that the painter had begun to have wider public appeal. Now he had become the focus of attention of the avant-garde. Leo Stein recounted this transformation: “Hitherto Cézanne had been important only for the few; he was about to become important for everybody. At the Salon d’Automne of 1905 people laughed themselves into hysterics before his pictures, in 1906 they were respectful, and in 1907 they were reverent. Cézanne had become the man of the moment.” And Picasso would say: “For us, Cézanne was like a mother who protects her children ... He was my one and only master ... I’ve spent years studying his pictures ... Cézanne! He was as you might say a father to us all. It was he who protected us.” The article explores the influence the Master of Aix had on both the Spaniard and his French colleague Georges Braque as they developed the ideas of what would become Cubism.

Conclusion

2019 ◽  
pp. 197-208
Author(s):  
Stewart Mottram
Keyword(s):  
Seventeenth Century ◽  
Early Modern Period ◽  
Religious Violence ◽  
Stained Glass ◽  
Andrew Marvell ◽  
Avant Garde ◽  
Parish Church ◽  
Religious Conservatism ◽  
The Impact

This chapter opens with a case study, assessing the impact of a century of protestant reforms on the layout and liturgy of the parish church of All Saints’, Bolton Percy, in the early 1650s—a time when both the poet, Andrew Marvell, and his patron, the former lord general of the parliamentary army, Thomas, third lord Fairfax, were parishioners. The chapter explores how Thomas Fairfax had helped preserve the stained glass and other features of Bolton Percy church, in spite of parliamentary ordinances directing the destruction of church idols and images, including those in windows. Yet Fairfax’s distaste for forms of protestant iconoclasm nevertheless co-existed with his presbyterian beliefs—a conjunction that may seem surprising, were it not for the fact that this study has uncovered a similar ambivalence towards religious violence and ruin creation in other avowedly puritan writers, from Spenser to Marvell. The chapter goes on to explore the Laudian apologist, Peter Heylyn’s identification with the religious conservatism of the Elizabethan church, arguing against the conventions of reformation historiography by suggesting that it was by no means only Laudians who sought to slow the pace of reformation and return the seventeenth-century church to the sobrieties of the Elizabethan settlement. The ambivalence of writers across the early modern period towards forms of reformation violence points rather to an anti-iconoclastic tradition that was indigenous to English protestantism in its formative century—suggesting that Laudian opposition to protestant iconoclasm was less ‘avant-garde’ than reformation historians have hitherto suggested.

The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto

2020 ◽  
Vol 2020 (3) ◽  
pp. 54-61
Author(s):  
T. Pavlova ◽  
Keyword(s):  
Avant Garde ◽  
Impact Theory ◽  
The Press ◽  
New Directions ◽  
Historical Fact ◽  
The Right ◽  
The Impact ◽  
Cultural Location ◽  
Public Exhibition ◽  
Slide Shows

A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubalev, O. Suprun, and O. Sytnychenko, and A. Makienko, who joined later. That was the time of apartment exhibitions and slide shows. In 1983, this group organized a show at Kharkiv House of Scientists, relying on its liberal exhibition policy and intelligent viewers. Despite the crowd, which gathered for the opening of the exhibition, the show was closed at the end of the first day. The opening included the press line‑up where the group entrusted Yuri Rupin to present the concept of the group, in particular, the “impact theory”. The exhibition became a serious mistake in the policy of such a centralized institution as Kharkiv House of Scientists. Photography appeared as a powerful art medium, not as a mere verification service. Therefore, it was very important that the background of the exhibition included a museum‑level cultural location, which was the next step after Vagrich Bakhchanyan’s nonconformist actions and street exhibitions in Kharkiv in the mid‑1960s. The “Vremya” group manifested photography as a new force of influence, which could no longer be ignored. An important historical fact was recorded because the group entered the zone of public conflict. At the same time, they consolidated the achieved positions such as the right to individuality, freedom of artistic gesture, and intervention in the field of photographic mimesis.

scholarly journals The origins of postmodernism as a sociocultural transformation: counterculture of the 1960s – early 1970s

2021 ◽  
pp. 53-62
Author(s):  
Aleksei Nikolaevich Tarasov
Keyword(s):  
Interdisciplinary Approach ◽  
Modern Culture ◽  
Avant Garde ◽  
The 1960S ◽  
Xix Century ◽  
Sociocultural Background ◽  
The Impact ◽  
Sociocultural Transformation ◽  
Original Approach ◽  
Current Stage

This article reviews postmodernism as a transitional stage in the dynamics of modern culture in the countries of Euro-Atlantic civilization. Such transitional stages the author defines as sociocultural transformations. Postmodernism is the finale of the current stage of sociocultural transformation, which according to the author started in the last third XIX century with the avant-garde culture. The article traces the impact of counterculture of the 1960s – early 1970s upon establishment of the postmodern paradigm. It is demonstrated that counterculture manifested as the sociocultural background that promoted the consolidation of postmodernism in culture of the countries of Euro-Atlantic civilization. The logic of studying sociocultural transformations suggests the application of interdisciplinary approach. The key research method is the philosophical interpretation. The main conclusion consists in proving the hypothesis on the background, sociocultural impact of counterculture of the 1960s – early 1970s upon the consolidation of postmodernism as the sociocultural transformation. The author offers an original approach towards periodization of the European (Euro-Atlantic) culture, which distinguishes the corresponding periods in its continuum through the prism of sociocultural transformations. A detailed analysis of the impact of counterculture upon postmodern statement is provided.

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