By Dietrich Scheunemann
This choice of serious essays explores new techniques to the examine of avant-garde literature and paintings, movie and structure. It deals a theoretical framework that avoids narrowly outlined notions of the avant-garde. It takes under consideration the range of inventive goals and instructions of some of the avant-garde hobbies and encourages a large and open exploration of the multifaceted and infrequently contradictory nature of the good number of avant-gardist techniques. person essays be aware of cubist university and dadaist photomontage, on summary portray by way of contributors of the Dutch crew De Stijl, on verbal chemistry and dadaist poetry and on physique artwork from futurism to surrealism. additionally, the gathering needs to open up the dialogue of the avant-garde to an intensive research of neo-avant-garde actions within the Fifties and Sixties. for many years the appreciation of neo-avant-garde artwork and literature, movie and structure suffered from a normal and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra efficient and extra designated research of this learn box. Contributions comprise a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, types of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the amount is predicated on shows and discussions of a three-day learn seminar held on the collage of Edinburgh in September 2002. The learn staff shaped round the Avant-Garde venture at Edinburgh will proceed with its efforts to complicated a brand new concept of the avant-garde within the coming years. Contents Preface I. Theorising the Avant-Garde Dietrich SCHEUNEMANN: From college to the a number of. at the family tree of Avant-Garde and Neo-Avant-Garde Rhys WILLIAMS: Wilhelm Worringer and the old Avant-Garde Hubert van den BERG: at the Historiographic contrast among historic and Neo-Avant-Garde II. Reviewing the Autonomy of paintings Michael WHITE: Abstraction, Sublation and the Avant-Garde: The Case of De Stijl David HOPKINS: Sameness and distinction: Duchamp’s Editioned Readymades and the Neo-Avant-Garde Ben HIGHMORE: Paint it Black: advert Reinhardt’s Paradoxical Avant-Gardism III. at the Alchemy of the be aware Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bop: On Language Dissection in Dadaist, Concrete and electronic Poetry Jacob EDMOND: American Language Poetry and the Definition of the Avant-Garde IV. physique Arts Günter BERGHAUS: From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-Garde functionality Olga TAXIDOU: Actor or Puppet: The physique within the Theatres of the Avant-Garde Uta FELTEN: Fragmentation of the physique in Spanish Surrealism V. the leading edge in Cinema and structure David MACRAE: the skin of phantasm: Avant-Garde Apperception and Antecedence in Structural/Materialist movie Gérard LEBLANC: What Avant-Garde? Richard WILLIAMS: the boundaries of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: capability and Metaphors of switch: expertise and the Danish Avant-Garde of the Nineteen Sixties Klaus BEEKMAN: Literature below the impression of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde record of Illustrations Index
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Additional info for Avant-Garde Neo-Avant-Garde (Avant-Garde Critical Studies 17)
Warhol’s work redefined painting as a working process in which a ready-made image is transformed into an artwork by means of photographic technique, silkscreen printing and the application of background colour. In Warhol’s work painting’s traditional devotion From Collage to the Multiple 43 to an outdated artisan practice with all its inherent allegiances to originality and uniqueness, authenticity and individual authorship had finally given way to the new practice of the multiple, a practice that maintained a lively communication and exchange with the mechanical and serial processes dominant in other spheres of contemporary life.
Cast down from the arrogance of knowledge modern man faces the world, just as lost and helpless as primitive man. (Worringer 1976: 52) The prophetic vision makes it easy to appreciate the fascination which Worringer's theory held for the writers and intellectuals of the expressionist generation in Germany. He supplied a theoretical justification for the revival of interest in Early German art and for the simultaneous discovery of primitivism. His theory also had a sociological and epistemological dimension.
It is the world feeling [Weltgefühl], the psychological state in which mankind finds itself, which leaves its imprint on the work of art. It follows that “what might appear to us as the greatest distortion must have been for the producer of that art the highest beauty and the fulfilment of his artistic urge” (1976: 47). 52 Rhys W. Williams It is clear that Worringer regards style as the expressive reification of artistic volition [Kunstwollen]. While it is the psychological drive which is paramount, this inscribes itself into the artistic possibilities available at any given time.
Avant-Garde Neo-Avant-Garde (Avant-Garde Critical Studies 17) by Dietrich Scheunemann