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Author : Ara H. Merjian Publisher : University of Chicago Press Page : 285 pages File Size : 35,26 MB Release : 2020 Category : Avant-garde ISBN : 022665527X
"This book casts the poet and filmmaker Pier Paolo Pasolini in a fresh light: his life and work in relation to the visual and performance arts of his time in both Europe and the US. Lavishly illustrated with both documentary and fine art images, it shows how essentially conservative Pasolini was politically and aesthetically despite his reputation as an avant-garde writer and filmmaker. But it also shows how truly advanced Pasolini was when it comes to interdisciplinary art, making him enormously relevant today"--
"Reaction and the Avant-Garde" illuminates a vital facet of right-wing thought in the first decades of the century, which had a powerful hold on Europe's intellectual elite. Prominent literary figures, such as Ezra Pound, Hilaire Belloc and the Chestertons, led a revolt against liberal parliamentary democracy in Britain. This group despised parliaments as representing and embodying a 'nation'. Villis examines the literary works, private papers, correspondence and memoirs of the leaders of this anti-Semitic, anti-modern, anti-women's rights movement that formed the intellectual underpinning of European fascism.
The late 19th century invention of 'fashion' as we understand it inspired avant-garde artists of the period to create an art form to counter commercial fashion. This is the history of the modern relationship between artists and this 'anti fashion'.
The past thirty years have seen the proliferation of forms of independent cinema that challenge the conventions of mass-market commercial movies from within the movie theatre. Avant-Garde Film examines fifteen of the most suggestive and useful films from this film tradition. The films discussed include No. 4 (Bottoms) by Yoko Ono, Wavelength by Michael Snow, Serene Velocity by Ernie Gehr, Print Generation by J. J. Murphy, Standard Gauge by Morgan Fisher, Zorns Lemma by Hollis Frampton, The Ties that Bind by Su Friedrich, From the Pole to the Equator by Yervant Gianikian and The Carriage Trade by Warren Sonbert. Through in-depth readings of these works, Scott MacDonald takes viewers on a critical circumnavigation of the conventions of movie going as seen by filmmakers who have rebelled against the conventions. MacDonald's discussions do not merely analyse the films; they provide a useful, accessible, jargon-free critical apparatus for viewing avant-garde film and communicate the author's pleasure in exploring 'impenetrable' works.
This volume examines the flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Futurism was an artistic and social movement that was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature. This work looks at the prose, visual art, poetry, and the manifestos of Futurists from Russia to Italy. The author reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present
Charles Bernstein has described conceptual "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Editors Craig Dworkin and Kenneth Goldsmith chart the trajectory of the conceptual aesthetic from early precursors such as Samuel Beckett and Marcel Duchamp through major avant-garde groups of the past century, including Dada, Oulipo, Fluxus, and language poetry, to name just a few. The works of more than a hundred writers from Aasprong to Zykov demonstrate a remarkable variety of new ways of thinking about the nature of texts, information, and art, using found, appropriated, and randomly generated texts to explore the possibilities of non-expressive language. --Book Jacket.
The Poetic Avant-Garde compares three avant-garde groups active in the era between the world wars: those surrounding Jorge Luis Borges, W.H. Auden, and Andre Breton. These groups were composed of poets and writers who made use of the avant-garde's characteristic modes of self-expression: the publication of small journals, unorthodox attention-getting tactics, and interaction with the mainstream press. However, their differing aesthetic, social, and political agendas illustrate the surprisingly broad range of avant-gardism in the interwar era. Strong looks at the choices these three groups made when their radical goals collided with the forces of social and political change in the 1920s and 1930s, highlighting the disparity between their rhetoric and their actual achievements. The book focuses on the avant-garde's struggle to reconcile contradictory imperatives: a desire to be radically new while also finding an audience.
Author : Thomas R. H. Havens Publisher : University of Hawaii Press Page : 326 pages File Size : 19,56 MB Release : 2006-07-31 Category : Art ISBN : 9780824830113
Radicals and Realists is the first book in any language to discuss Japan’s avant-garde artists, their work, and the historical environment in which they produced it during the two most creative decades of the twentieth century, the 1950s and 1960s. Many of the artists were radicals, rebelling against existing canons and established authority. Yet at the same time they were realists in choosing concrete materials, sounds, and themes from everyday life for their art and in gradually adopting tactics of protest or resistance through accommodation rather than confrontation. Whatever the means of expression, the production of art was never devoid of historical context or political implication. Focusing on the nonverbal genres of painting, sculpture, dance choreography, and music composition, this work shows that generational and political differences, not artistic doctrines, largely account for the divergent stances artists took vis-a-vis modernism, the international arts community, Japan’s ties to the United States, and the alliance of corporate and bureaucratic interests that solidified in Japan during the 1960s. After surveying censorship and arts policy during the American occupation of Japan (1945–1952), the narrative divides into two chronological sections dealing with the 1950s and 1960s, bisected by the rise of an artistic underground in Shinjuku and the security treaty crisis of May 1960. The first section treats Japanese artists who studied abroad as well as the vast and varied experiments in each of the nonverbal avant-garde arts that took place within Japan during the 1950s, after long years of artistic insularity and near-stasis throughout war and occupation. Chief among the intellectuals who stimulated experimentation were the art critic Takiguchi Shuzo, the painter Okamoto Taro, and the businessman-painter Yoshihara Jiro. The second section addresses the multifront assault on formalism (confusingly known as "anti-art") led by visual artists nationwide. Likewise, composers of both Western-style and contemporary Japanese-style music increasingly chose everyday themes from folk music and the premodern musical repertoire for their new presentations. Avant-garde print makers, sculptors, and choreographers similarly moved beyond the modern—and modernism—in their work. A later chapter examines the artistic apex of the postwar period: Osaka’s 1970 world exposition, where more avant-garde music, painting, sculpture, and dance were on display than at any other point in Japan’s history, before or since. Radicals and Realists is based on extensive archival research; numerous concerts, performances, and exhibits; and exclusive interviews with more than fifty leading choreographers, composers, painters, sculptors, and critics active during those two innovative decades. Its accessible prose and lucid analysis recommend it to a wide readership, including those interested in modern Japanese art and culture as well as the history of the postwar years.
During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts.