Paradigm Shifts in 20th Century Art and Critical Theory: Report on a special forthcoming issue of Psychoanalysis and Contemporary Thought

1996 ◽  
Author(s):  
Tom Ettinger
Keyword(s):  
Critical Theory ◽  
20Th Century ◽  
Paradigm Shifts ◽  
20Th Century Art

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Berensonian Formalism and Pragmatist Perception

2017 ◽  
Vol 62 (2) ◽  
Author(s):  
C. Oliver O'Donnell
Keyword(s):  
Recent Work ◽  
20Th Century ◽  
William James ◽  
Walter Pater ◽  
Historical Scholarship ◽  
Philosophy Of Perception ◽  
20Th Century Art ◽  
Pragmatist Philosophy

The ramified legacy of Bernard Berenson’s writings within 20th century art historiography is both celebrated and maligned. In an effort to help reconcile this situation, this essay argues for the partial validity of Berenson’s peculiar version of art historical formalism by detailing its historical connections to the Pragmatist philosophy and psychology of William James and by analytically correlating Berenson’s arguments with recent work in aesthetics and the philosophy of perception. The essay examines the specific example of Berenson’s analysis of Giotto’s paintings and leverages a Pragmatist interpretation of Berenson’s writings to frame Berenson’s known connections with other writers: including Adolf Hildebrand, Giovanni Morelli, and Walter Pater. In conclusion, the failure, potential, reception, and legacy of Berenson’s art historical scholarship are assessed in relation to Pragmatist ideas. Der vielfältige Einfluss von Bernard Berensons Schriften auf die Kunstgeschichte des 20. Jahrhunderts wird ebenso geschätzt wie verachtet. In dem Bestreben, diese Divergenzen zu berichtigen, versucht dieser Beitrag den Nachweis für die bedingte Gültigkeit von Berensons eigentümlicher Variante eines kunsthistorischen Formalismus zu erbringen, indem er einerseits seine historischen Verbindungen zur pragmatischen Philosophie und Psychologie von William James aufzeigt und indem er andererseits Berensons Argumentation ins Verhältnis zu aktuellen Debatten der wahrnehmungstheoretischen Ästhetik und Philosophie setzt. Am Beispiel von Berensons Interpretation der Gemälde Giottos führt dieser Essay eine pragmatische Analyse von Berensons Schriften durch und stellt diese ins Umfeld seiner Kontakte zu anderen Autoren: darunter Adolf Hildebrand, Giovanni Morelli und Walter Pater. Schließlich soll das Scheitern, das Potenzial, die Rezeption und das Erbe von Berensons kunsthistorischen Studien unter pragmatischen Gesichtspunkten bewertet werden.

Mapping Logistical Capitalism

2021 ◽  
pp. 026327642199042
Author(s):  
Eugene Brennan
Keyword(s):  
Critical Theory ◽  
20Th Century ◽  
Social Life ◽  
Review Article ◽  
Global Capitalism ◽  
Racial Capitalism ◽  
The Past ◽  
Black Lives Matter ◽  
Class Composition

This review article engages with a rich field of scholarship on logistics that has gathered momentum over the past decade, focusing on two new publications by Laleh Khalili and Martín Arboleda. It contextualizes how and why logistics is bound up with the militarization of contemporary political and social life. I argue that the later 20th century rise of logistics can be better understood as both a response to and symptom of capitalist crisis and I situate this scholarship on war and logistics in relationship to Giovanni Arrighi’s account of crisis and ‘unravelling hegemony’. I also show how logistics provides essential critical and visual resources that contribute to efforts to map global capitalism and to debates on totality and class composition in contemporary critical theory. Finally, contemporary events such as the ongoing Coronavirus crisis and the reemergence of Black Lives Matter are considered in light of this analysis with reference to the centrality of logistics to racial capitalism.

THE DYNAMICS OF EPISTEMOLOGICAL DECOLONISATION IN THE 21ST CENTURY: TOWARDS EPISTEMIC FREEDOM

2020 ◽  
Vol 40 (1) ◽  
Author(s):  
Sabelo Ndlovu-Gatsheni
Keyword(s):  
Critical Theory ◽  
Academic Freedom ◽  
20Th Century ◽  
21St Century ◽  
Global South ◽  
Epistemic Virtue ◽  
Epistemic Dependence ◽  
Knowledge Domain ◽  
Normative Foundation ◽  
Conceptual Study

The problem of the 21st century in the knowledge domain is best rendered as the ‘epistemic line’. It cascades directly from William E B Dubois’s ‘colour line’ which haunted the 20th century and provoked epic struggles for political decolonisation. The connection between the ‘colour line’ and the ‘epistemic line’ is in the racist denial of the humanity of those who became targets of enslavement and colonisation. The denial of humanity automatically disqualified one from epistemic virtue. This conceptual study, therefore explores in an overview format, how Africa in particular and the rest of the Global South in general became victims of genocides, epistemicides, linguicides, and culturecides. It delves deeper into the perennial problems of ontological exiling of the colonised from their languages, cultures, names, and even from themselves while at the same time highlighting how the colonised refused to succumb to the ‘silences’ and fought for epistemic freedom. The article introduces such useful analytical concepts as ‘epistemic freedom’ as opposed to ‘academic freedom’; ‘provincialisation’; ‘deprovincialisation’; ‘epistemological decolonisation’; ‘intellectual extroversion’; and ‘epistemic dependence’. It ends with an outline of five-ways-forward in the African struggles for epistemic freedom predicated on (i) return to the base/locus of enunciation; (ii) shifting the geo-and bio-of knowledge/moving the centre; (iii) decolonising the normative foundation of critical theory; (iv) rethinking thinking itself; and finally (v) learning to unlearn in order to relearn.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

AICARC and the Archives of Modern Art

1986 ◽  
Vol 11 (2) ◽  
pp. 4-8 ◽  
Author(s):  
Hans-Jörg Heusser
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
Primary Sources ◽  
Archival Material ◽  
History Of ◽  
The 1960S ◽  
20Th Century Art

Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.

The Anthropology of Art, After the End of Art: Contesting the Art-Culture System

2019 ◽  
Vol 48 (1) ◽  
pp. 317-334
Author(s):  
Eugenia Kisin ◽  
Fred R. Myers
Keyword(s):  
New York ◽  
20Th Century ◽  
Culture System ◽  
Public Culture ◽  
Metropolitan Museum ◽  
Art World ◽  
Crisis Of Representation ◽  
Anthropology Of Art ◽  
20Th Century Art ◽  
Multiple Intersections

We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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