Search

Samuil Alyanski, the owner and founder of the Alkonost publishing house (1918–1923), as early as 1918 had decided to issue a journal called Dreamers' Notes, meant to bring together the Symbolist writers remaining in Russia after the October Revolution, primarily Aleksandr Blok, Vyacheslav Ivanov, and Andrei Bely. Despite the generally accepted view based on the memoirs of Alyanski, Andrei Bely played a leading role in the creation of the journal including the design of the cover commissioned by Alyanski from the famous Modernist artist Aleksandr Golovin. This article analyzes the sketches that Andrei Bely proposed as an idea for the journal cover as well as establishing their connection with the writer's visionary drawings from the period of life when he was close to Rudolf Steiner and with book graphics from the period of his collaboration with the publishing house Alkonost. At first cursory glance, there is little in common between the cover of Dreamers' Notes drawn by Golovin in the Modernist style and the sketches of Andrei Bely who was trying to make the journal а platform for Anthroposophy. However, as demonstrated in the article, all of Bely's ideas were utilized by Golovin in creating his own artistic masterpiece. [ABSTRACT FROM AUTHOR]

Discussions of conceptual art both East and West have focused on the notion of "dematerialization" of the artwork and the substitution of "art as idea" for concrete works of art. Yet such an approach oversimplifies the role of materiality in works of conceptual art generally and underestimates the transformative role of the concrete object in early Moscow conceptualism in particular. An examination of the Nest, an influential group of artists active from 1974 to 1979, as well as other analytical conceptualists who highlighted materiality in their unofficial art practice suggests that their use of concrete objects and realized metaphors revolutionized late-Soviet unofficial art, moving it from an outdated modernist model of artistic autonomy to a more dynamic and engaged postmodernism. Their previously underappreciated contribution to the evolution of global conceptualism expands our picture of the movement as a whole and provides needed context for late-Soviet art and the post-Soviet period that followed. [ABSTRACT FROM AUTHOR]

The article discusses an artistic method of the post-Soviet artist Vlad Mamyshev-Monroe (1969–2013) as the nexus of several traditions embedded in modernist legacy. His main genre is remastered (scratched) photographs depicting him impersonating various historical and fictional characters, from Marylyn Monroe (whom he considered his alter ego) to Hitler, Jesus Christ, and Putin. His art and artistically designed image creatively develop the tradition of modernist life-creation (zhiznetvorchestvo), which he enriches by camp, thus becoming a pioneer of this elusive sensibility in post-Soviet culture. Camp, in turn, facilitates Mamyshev-Monroe's self-fashioning as the trickster whose transgressivity and ambivalence absorb his queerness and drag spectacles, and whose hyperperformativity manifests itself in his performative art. The article analyzes how Mamyshev-Monroe appropriates various cultural material in the trickster's way by using camp for its critique and deconstruction. The case of Mamyshev-Monroe is especially important since it demonstrates the limits of the trickster's transgression that resists its instrumentalization by the authoritarian state. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anadolu University Journal of Education Faculty (AUJEF) is the property of Anadolu Universitesi Egitim Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The idea of the subject as a construct, of various external influences, was not new to the cultural and literary circles in the 1980s when DeLillo published White Noise. In the second half of the twentieth century, post-structuralist and postmodern theories unsettled the established ideas of the humanist tradition like the concept of the subject. The idea that the subject is constituted by external factors posed a challenge to the modernist notion of the subject as authentic and independent consciousness. Influenced by post-structuralist and postmodern theories, novelists in post-war America, especially during and after the 1980s, portrayed their protagonists (the subjects) as textual constructs rather than authentic heroic figures we often find in modernists' works of art. DeLillo engages with technological developments and sociocultural changes in post-war America and explores how such developments/changes influence an individual's subjectivity. Critics have described Jack Gladney, the protagonist of White Noise, as a late-modernist displaced to negotiate the postmodern landscape. This study, which is purely of scholarly interest, attempts to show how Gladney vacillates between the notions of modernist authentic subject and the de-centred postmodern subject created textually. This article also attempts to explore how DeLillo's fiction engages with the idea of the subject during the 1980s. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the key ideas and attitudes of the era of postmodernism in the context of the rejection of metanarratives. The research methodology consists in the application of methods of analysis and synthesis, systematisation of facts, comparison, and generalisation of research outcomes. The scientific novelty lies in an attempt to understand the transformative changes of the key ideas of postmodern era and to mark the role of metanarratives in the context of the concepts of ideal, truth, and universality. Conclusions. Postmodernism has found alternative ways of spiritual growth. Besides, new forms of relations between people and society have been built. Postmodernism has «rehabilitated» the previous cultural and artistic tradition, which was actively destroyed during the 20th century: realism, academicism, and classicism. Postmodernism combined the experience of the past with the experience of the present; it can be seen as a change in cultural periods. However, mutual reflection of similarities and repetitions have displaced the categories of metanarratives (objectivity, reality, truth, universality, and ideal). Thus, JeanFrancois Lyotard, postmodernist thinker, and French poststructuralist philosopher defined postmodernism as distrust of metanarratives. The term «metanarrative» replaced the concept of «philosophy of history». Metanarratives linked historical events into a single story that had spanned long periods. The use of the term «metanarrative» in the era of postmodernism indicated the emergence of a new way of understanding history, culture, and art in accordance with the postmodern concept of truth. [ABSTRACT FROM AUTHOR]

In 1971, Pakistan‐born lawyer and artist Iqbal Geoffrey (1939–2021) lodged a discrimination case against the Museum of Modern Art in New York. This essay connects Geoffrey's complaint, which he filed with the New York State Division of Human Rights, to MoMA's situation at the centre of activist debates over race and equality during the late 1960s and early 1970s, and the museum's prominent role in exporting US art around the world during the Cold War. At a time when Asian modernists received a mostly transactional, diplomatic welcome from US cultural institutions including MoMA, Geoffrey mobilized his legal, artistic, and epistolary practices to stake his claim to permanent belonging within the US art world. Today, his case raises questions over where expanding histories of 'global modernism' meet incomplete histories of 'American' modernism, against a backdrop and the legacies of the Cold War era. [ABSTRACT FROM AUTHOR]

It is easy to ridicule the pretense and silliness of many works coming from the "art world." The story of the arts, for at least the past century and a half, has been one of attempts to keep alive something that is long past dead. For example, without a substantial understanding of quality, aesthetics has been held up as a substitute for life. But the aesthetic, long touted as fundamental to the goals of art, begs other questions: which aesthetic responses? What if one does not have the same, or any, aesthetic response? This essay explores an alternative, one that refutes the modernist conception of substituting mere pleasure and emotion, that is, preferences, for the idea of Beauty as the manifestation of what is known to be True and Good. Instead of seeking living art that is Beautiful, and can bring life, postmodern culture is surrounded by dead, zombie art. Strategies for stopping the flood of long-dead zombie works include reason, ridicule, and pointing the way back to Beauty. [ABSTRACT FROM AUTHOR]

Artificial flowers made by Vanessa Bell and others for the Omega Workshops during the war years have received little scholarly commentary compared with the firm's other products. This article analyzes the flowers as heirs to a Victorian tradition of artificial flower making, as innovative aesthetic objects in their own right, and as works that catalyzed an emancipatory vision of modern living, painterly style, and comparative aesthetics for the Bloomsbury artists. Bell reworked the material culture of her Victorian upbringing in a modernist idiom through the flowers, articulating a new vision of femininity. For Duncan Grant, they were both symbols of sexual nonconformity and vehicles of sensual immersion in private domestic space. And in Roger Fry's paintings, the flowers often invite formal and conceptual comparisons between the arts of East and West, opening up new forms of cross-cultural pollination and appreciation. [ABSTRACT FROM AUTHOR]

Copyright of Artl@s Bulletin is the property of Purdue University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of An-Najah University Journal for Research, B: Humanities is the property of An-Najah National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally “coming after modernism”) emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. [ABSTRACT FROM AUTHOR]

Due to biases and lacunae in the discipline of art history, the importance of illustrating to the work of artists of color, particularly African American artists, has been understudied. Consequently, we will only change existing art-historical narratives by more fully incorporating material like illustrations into our broader histories of art. Illustrating was a crucial outlet for many artists: it provided a source of income when other means of financial support were limited, and offered a way to communicate important stories in the face of modernism's general dismissal of narrative. The continuing lack of robust attention to practices like illustration, still often framed as a mere prelude or addendum to an artist's oeuvre, deprives us of a richer sense of the contributions of artists of color to the history of art. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The bioreceptivity, and the consequent biodeterioration of contemporary glass, used by artists worldwide, was studied. The two main objectives were: first, to verify if fungi with some culture media would produce more damages than the same fungi without a nutritional source, and to verify if the two genera of fungi produce the same damage on the same glass. Colourless glass samples with Spruce Pine 87 Batch (SPB-87) composition were inoculated with two distinct fungal species, Penicillium chrysogenum and Aspergillus niger, separately: (i) half with fungal spores (simulating primary bioreceptivity), and (ii) half with fungi in a small portion of culture media (simulating organic matter that can be deposited on exposed glassworks, i.e., secondary bioreceptivity). The alteration of glass surfaces were analysed by Optical Microscopy, SEM-EDS and µ-Raman. The mycelium of Penicillium chrysogenum generated a higher amount of fingerprints, stains and iridescence, whereas Aspergillus niger produced more biopitting and crystals on the glass surface. However, both species damaged the glass to different degrees in 4 and 6 months after the inoculation, producing physico-chemical damage (e.g., iridescence, biopitting), and chemical alterations (e.g., depletion and deposition of elements and crystals). The primary bioreceptivity experiment of glass samples inoculated with Aspergillus niger results in less damage than in the case of secondary bioreceptivity, being almost similar for Penicillium chrysogenum. The new and in-depth understanding of the bioreceptivity and deterioration of post-modern glass art and cultural heritage provided here is of paramount importance for the scientific, conservation and artistic communities—to protect glass cultural materials, or seen by artists as innovative and inspirational ways of creating glass art in the future. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Musei Moraviae: Scientiae Sociales is the property of Moravske Zemske Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An eye-tracking and questionnaire study was set up in collaboration with the Van Abbemuseum (Eindhoven, The Netherlands) to investigate the perception and appreciation of three Frank Stella paintings from the 60s (Tuxedo Park and Effingham I from the collection of the museum and a hand-painted replica of Hiraqla Variation II). Effingham and Hiraqla were shown next to a printed copy without fluorescent colors, for a direct comparison between the two versions. The main purpose of the study was to assess whether the works were experienced according to Stella's prescriptions as defined in his Modernist 'logic': all-overness, flatness, instantaneousness and self-referentiality. We found that the perception of Tuxedo resulted in a well-structured, coherent heatmap, while a more or less even distribution of fixations over the surface was found in the case of Effingham and Hiraqla (and their copies), which indicates that Stella's target of all-overness was achieved better in the last two works. Although Stella claimed to have created "flat and frontal" paintings, depth was experienced, especially in Tuxedo and the Hiraqla replica. In the latter, this was mainly caused by the protruding fluorescent colors. Also, in this work more fixations were found in fluorescent-colored areas when corrected for area size. No such effect was found in the original Effingham painting. Most participants found only Effingham to be instantaneously capturable. In the case of Tuxedo , the specific material qualities, like alkyd and open canvas, were rarely recognized, which undermines Stella's aim for self-referentiality. Participants noticed the fluorescent effect in the Hiraqla replica, but they did not mention other material qualities. A reverse effect was found for Effingham. [ABSTRACT FROM AUTHOR]

Joseph Stella is best known today as one of the first modernist painters in the United States. He created colorful Cubist-Futurist inspired paintings of modern urban structures and spaces, especially the Brooklyn Bridge and Coney Island. He occasionally did some paintings and drawings of Christian subjects, most often of the Virgin Mary and Jesus and more frequently in the late-1910s and 1920s, but these remain little-known and have received scant scholarly attention. Stylistically, they are rooted in a complex fusion of Symbolism, Cubism, and Futurism and often reflect the post-World War I return to greater verisimilitude and clear, solid forms and believable spaces. These works reveal Stella's complex spirituality and how he reconnected to his Roman Catholic, Italian roots and reconciled them with American urban, industrial, and secular values. Most of them are complex syntheses of his Christian piety and sexual desires and needs. Although limited in quantity and scope, some writings by Stella and those who knew him suggest his sexual concerns were often intensely lustful and frenzied. Therefore his paintings of the Madonna usually show her as spiritually pure and sensuously arousing. A few paintings, particular from his last years and which do not depict female figures, are more introspective and tranquil in mood and attitude. Stella's paintings of Christian subjects are an intriguing case study of how modernists returned to traditional religious themes and depicted them in ways that combined the old and the new, the modernist and the more traditionally representational, and the urban and industrial twentieth century with pre-modern life. [ABSTRACT FROM AUTHOR]

The purpose of this article is to study museum educational situations, where 5–7-year-old children encounter abstract art, from a new materialist perspective. The children visit an exhibition curated by me, where abstract modernist art is mediated, with an emphasis on multi sensory experiences and experimentation. The visits were recorded with stationary and action cameras. By focusing on material–relational situations, I investigate how learning takes place when the children engage with the museum educational setting. A girl asks a surprising question that challenges the taken for- granted beliefs about what art can be. The children break rational and logical patterns by creating abstract art, and “aesthetic-intuitive order” takes place in the compositions. A child and an adult relate differently to the agential “teaching matter.” Embodied and material pedagogy with abstract art indicates how “making sense” of the world is not only done in verbal and logical ways but also by experimenting with bodies and senses with teaching matter. [ABSTRACT FROM AUTHOR]

The essay explores Adorno's notion that modernist art is a dialectic between the ideal and the spleen in relation to Jim Jarmusch's 2013 film, Only Lovers Left Alive. The film tracks bohemian vampires who map onto the idealist and splenetic as modernist aesthetes, setting a mood of gothic melancholy. Retreating from modern capitalism and consumerism --the zombie world in the film--the characters illustrate the film's succession of binaries in an attempt to retain their purity and manage their concomitant melancholy. Ultimately, they must compromise, and their pragmatic negotiations are telling. The essay explores these concepts concerning the main characters, Adam and Eve, the prominent locations Detroit and Tangier, and the main dialectical concepts of the splenetic and the ideal. Jarmusch's film extends Adorno's insightful pairing and updates it for an artistic and social milieu quite different than the one that Adorno wrote from, while Adorno's concepts draw out the philosophical content latent in the film. Melancholy is expressed as a necessary condition for an adequate post-industrial aesthetic, but it is insufficient for aesthetic survival. [ABSTRACT FROM AUTHOR]

In 1912, Wassily Kandinsky (Russian, 1866–1944) published a limited edition of Sounds (Klänge), an illustrated book of poems that applied many of the theories discussed in his publication On the Spiritual in Art (Über das Geistige in der Kunst, 1911). In Sounds, Kandinsky strove to train readers to sensorially perceive images hidden in visual and verbal abstraction. In both word and image, the artist explored various realizations of boundedness, repetition, and concealment with the aim of evoking various effects in readers. Ultimately, according to Kandinsky's theories, the fluidity between the "seeable" and "unseeable" allowed the "inner sounds" of the book's words and woodcuts to resonate with readers in moments of perceptual clarity. Published on the brink of World War I, Sounds was released into a world that was about to change drastically. Although it influenced numerous avant-garde artists in the inter- and postwar periods, a newfound pessimism overshadowed Kandinsky's idealistic aspiration. His utopian belief that abstraction would facilitate the arrival of a "Great Spiritual Epoch" ceded to a view of abstract art as a means of expressing the irrationality and brokenness of things. Today, Sounds is significant because of its influential form and content, its novel multisensorial aims, and its liminal sociohistorical context. [ABSTRACT FROM AUTHOR]

Copyright of Dirasat Tarbawiya is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dirasat Tarbawiya is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the mid-1990s, Western literary theory has entered a "post-postmodern" stage, but there has been no proper concept or theory to express it in the academic world until the emergence of "metamodernism". Metamodernism is a new discourse of literary theory in the new millennium that emerges out of the major change in the structure of culture and art as well as perception. It attempts to explore a new path for culture and literary theory between modernism and postmodernism, and its main strategy of discursive expression is "a-topic metaxis". Epistemologically, it is "with" modern and postmodern imprint; ontologically, it is "between" the modern and postmodern; historically, it is "after" the modern and postmodern. Environmental designers replace "blueprints" with "greenprints", and the new generation of writers and artists are gradually abandoning the aesthetic concepts of deconstruction, parataxis, and pastiche, turning to the aesth-ethical categories of reconstruction, myth, and metaxis. These trends express a (often cautious) sense of hope and (often disguised) sincerity, and embody a deeply inclusive and polarizing perceptual structure. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Basrah is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The art and architecture of modernist architect and architectural theorist Victor Bohm (Bőhm Viktor, Böhm Viktor) are rare examples of modernism. At the same time, they were unusual for a provincial city—Miskolc (Hungary)—far from the modernist hub Budapest. Bohm worked in Miskolc during the 1930s, created numerous extraordinary buildings and shaped the skyline of this industrial town. He emigrated to the United States in 1939. The architectural language of his Hungarian designs followed modernist trends, a tendency less evident in his American projects. His buildings received architectural awards, and he has become known as a designer of medical and commercial buildings. He was a pioneer in the study of the relationship between architecture and psychology and sought to understand how an architectural design affects people and how the architect's identity is manifested in their works. None of Bohm's Hungarian buildings are protected; most of his buildings in Miskolc were demolished. The present study attempts to preserve his modernist, Hungarian legacy. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A review of the article "Networks, Horizons, Centres and Hierarchies: On the Challenges of Writing on Modernism in Central Europe" edited by Steven Mansbach, which appeared in the 2021 issue of "Umeni: The Journal of The Institute of Art History, Czech Academy of Sciences" is presented.

The article examines the difference between Bauhaus conceptions of modernism and industrial design and Benedictine concepts of symbolism within the context of the architecture of St. John's Abbey Church in Collegeville, Minnesota. Topics discussed are influence of the Benedictine liturgy on the idea of history that is compatible with functionalism, form and symbolism as the language of religious experience central to Benedictine spirituality, and semantics of the sacred in modern architecture.

In an articulation of silence, the art of Colombian artist Doris Salcedo calls for the artist's death. Fuelled by the ideas of Jean François Lyotard and Jürgen Habermas, postmodernism challenges the relationship between the artist and the sublime. How does Lyotard's pessimistic view of the postmodern condition impact the metaphysical meaning of silence? This examination will venture to explore a unique perspective that, through silence, threatens the artist. It does so, however, in concert with art. Salcedo introduces an ontological re-imagining of the artist's displacement, which fulfils any void left by silence. [ABSTRACT FROM AUTHOR]

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also among the least prolific. Her career is bookended by two important solo exhibitions. The gap between these shows, filled by a career in textile design, is typically narrated in terms of the degeneration of promise and the wasting of creative talent. Piper's designs mark a break in the progressive arc of her life. They split her late paintings from the early ones and have seemed to shut off the potential for sensitive criticism. But her modernism refuses such distinctions. Piper used her early paintings to interrogate reification, commodification, and economic compulsion as they interacted with questions of racial oppression. These images interrogated the legacy of the Harlem Renaissance and the options remaining open for black modernist art. Her late paintings, produced after thirty years at work in the textile industry, need to be read as the culmination of this project rather than as an unfortunate diversion. In them, she directed the technical and institutional knowledge gleaned from her career as a designer towards a searching, self-reflexive critique of race, gender, and the commodity form. These images open the way to a renewal of black modernism. [ABSTRACT FROM AUTHOR]