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The article explores Austrian art historian Alois Riegl's haptic vision within the framework of Anglo-American modernism. Topics discussed include the psychophysiological genealogy of haptics, the notion of haptic in the context of 20th-century Anglo-American art criticism, history and theory, and haptic perception elaborated by Riegl's compatriots and art professors Viktor Lowenfeld and Ludwig Münz.

The article analyzes selected writings by art critic Rosalind Krauss. It introduces the relationship between Krauss and her mentor Clement Greenberg and addresses Krauss' feminist gesture at the end chapter of her book "The Optical Unconscious." It takes a look at Krauss' views on modernism, her linguistic brutality, anachronistic approach and interpretation of Jackson Pollock's drip paintings into psychoanalysis, semiotics and Gestalt psychology, and views on the roles and positions of women.

While the drive toward homogeneous and pure visual languages was at the foundation of early twentieth-century utopian modernist art systems, the Dadaist and Surrealist reaction to this utopianism took the form of extreme and often violent hybridity. Marcel Duchamp's 1913 "readymade" of a bicycle wheel placed atop a kitchen stool is a paradigmatic manifestation of the linguistic hybridity characteristic of post-utopian twentieth-century art. In the 1920s Francis Picabia made paintings constructed of separate and discrete layers of images, which, when viewed together, produced an unsettling visual "monster." Picabia's practice of superimposition was a significant forerunner of prevailing contemporary practices in postmodern painting. In his essay "Postmodernism, or the Cultural Logic of Late Capitalism," philosopher Fredric Jameson (1991) identifies pastiche as one of the main characteristics of cultural production in the age of postmodernism. Pastiche is defined as a work of art consisting of motifs borrowed from one or more sources, an incongruous hodgepodge of materials, forms, and images. In this age of pastiche, what are the options open to artists—to endlessly quote, imitate, or parody existing images and styles, or to construct a new and significant system of meaning? To discuss the centrality of the principle of hybridity in postmodern art—and in my own artistic practice of the past fifty years—I summoned Theolonius Marx, a fiction of my imagination who helped me handle the dilemmas of conceptual art in the 1970s. In this "conversation," Theolonius and I ponder how hybridity has placed a challenge to utopian modernist concepts, and what the conditions are for it to thrive today as a relevant and sustainable medium. [ABSTRACT FROM AUTHOR]

The article explores its provocative analysis of the ideological transformation in photography's history, challenging narratives around Bauhaus influences. Topics include the impact of Soviet photographic strategies, the shift from political to individual expression in postwar US avant-garde, and the contrasting trajectories of artists like Moholy-Nagy in Chicago and Enrique Gutmann in Mexico, raising questions about the global impact of Bauhaus ideas.

"Authoritarian Laughter: Political Humor and Soviet Dystopia in Lithuania" by Neringa Klumbyt is a historical ethnography that explores the role of humor in Soviet-occupied Lithuania through the lens of the popular satire magazine, Brooni. The book delves into questions of freedom, opposition, censorship, and political intimacy, tracing the magazine's life from 1956 to 1998. Klumbyt's research is grounded in extensive archival research and interviews with journalists and artists who worked for the magazine. The book reveals the banality of Soviet power and the complex lives of the artists and editors who navigated the boundaries of what was allowed to be laughed at and ridiculed. It also examines the experience of power through the lens of political intimacy, highlighting the personal relationships cultivated by the magazine's editors with high-ranking Communist Party officials. The book challenges the perceived universality of the Soviet experience and offers insights into the effectiveness of opposition to authoritarianism. [Extracted from the article]

Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef 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.)

The article focuses on the strategic self-presentation of Nigerian artist Ben Enwonwu in challenging Eurocentric narratives of modernist art through a 1948 photograph, highlighting his exclusion from modernist canons. Topics discussed include the importance of archival research in uncovering the presence of African modernist artists in the United Kingdom, the founding of a public art collection in rural Scotland, and the role of patronage in bridging communities.

Daniel Albright's book, Music's Monisms, explores the concept of 'monism' in relation to musical modernism. The book provides a wealth of reflections and references, offering a comprehensive understanding of literature and music. However, the book's focus on monism is not thoroughly examined and often takes a backseat. Albright argues that modernist music challenges the boundaries between language and languagelessness, questioning the dichotomies that shape our thinking and organization of the world. While the book presents intriguing insights, it lacks theoretical rigor and fails to fully grapple with the complexities of modernist art and aesthetics. The text also critiques Joseph N. Albright's book, Music's Monisms: Schoenberg, Wagner, and the Philosophy of History, particularly the chapter on Wagner. The author highlights the naming dynamics in Wagner's work and asserts that musical meaning is always uncertain. However, the author criticizes Albright for not addressing the political complexities of Wagner's legacy, such as his revolutionism and anti-Semitism. The text suggests that a more deconstructive reading could have been achieved through a deeper engagement with Nietzsche's writings, which heavily influenced Wagner's operas. Overall, the text emphasizes the historical and political implications of the book's analysis of Wagner's music. [Extracted from the article]

Once again it is time for a reckoning about the status of modernist art in Western Europe and North America. However we frame it, it's now perceived, in artist studios and academic programs alike, as just one formation among others, with no special claim on art practice or art history. No longer central, the field is relative not only to other modern arts in other geopolitical regions but also to all other art-historical fields. In short, it is neither the aesthetic epitome nor the historical gateway that most old-school modernists have believed it to be. This isn't news in other fields; that it might be for many modernists is one more sign that we have fallen behind. [ABSTRACT FROM AUTHOR]

This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of inquiry is structured by observed parallelisms between practices that are separated by great geographical and cultural distances—parallelisms that are unavoidable, yet also potentially misleading. Rather than adopt a model either of unidirectional influence or amalgamating hybridity to systematize this field, I instead apply a disjunctive, diagrammatic formalism for which I borrow the notion of "scheme transfer" from Alfred Gell and Pierre Bourdieu. This is a way to articulate the transmission of specific formal and structural traits (for example, from the coast of West Africa to Paris) as being contingent and reversible rather than inevitably hierarchizing. Following suggestions in the work of Leo Bersani and Eduardo Viveiros de Castro, I thus recommend the mutability of the diagrammatic—or, to put it differently, a revised, non-totalizing structuralism—as a means of navigating the perils of the comparative enterprise. [ABSTRACT FROM AUTHOR]

The purpose of the work is to investigate the influence of modernism artistic currents, in particular cubism, in the work of the Ukrainian battle artist L. Perfetskyi, analysing the artistic manner and the relevance of the interpretation of historical events. The research methodology is based on the application of a set of methods: general theoretical - analysis, systematisation, generalisation of the researched sources; historical-retrospective - for studying the stages of artistic creativity and works of the artist; art critic - for the analysis of the general creative style and artistic manner of the artist. The scientific novelty of the work lies in the generalisation and systematisation of the creative heritage of L. Perfetskyi in the realm of battle painting, which vividly reflects the days of the armed struggle of Ukrainians for independence at the beginning of the 20th century; attention is also focused on the relationship between the direct participation of the artist himself in combat operations and his service in the ranks of the Army of the Ukrainian People's Republic with subsequent creative activity, which influenced the formation of the artist's original style in combination with the stylistics of cubism and other modernist searches. Conclusions. As a result of the conducted research, it was established that despite the partial loss of the artist's heritage, those works that have survived testify to the unparalleled talent and artistic originality of the artist, who was a witness of real events and masterfully embodied all that in artistic works. L. Perfetsky joined the cohort of Ukrainian combat artists and at a high artistic level managed to recreate some of the most difficult periods of Ukrainian history, which is supported by his personal view of these events as a direct participant. In addition, from an artistic point of view, the works of L. Perfetskyi are marked by artistic appeals and searches among the modernist European currents of cubism, which was constantly reflected in the increased expression and dynamics of the paintings. All this fills the content of his works with realism, capable of conveying the truth of what has been seen through many decades. [ABSTRACT FROM AUTHOR]

Copyright of Praktyka Teoretyczna is the property of University of Wroclaw 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.)

Writers on the semiology of Cubism have often cited Daniel-Henry Kahnweiler's 1946–48 descriptions of Cubism as a form of writing. They seem, however, to have overlooked Pablo Picasso's 1945–48 statements about art as a sign language. The first section of this essay argues that Kahnweiler was in fact inspired by Picasso's statements. The second section retraces the origins of semiology in nineteenth-century philology, its revival by Claude Levi-Strauss, his influence on critical theory, the rise of a semiological interpretation of Cubism, and the problems with this interpretation. The third section links Picasso's 1945–48 statements about art as a sign language to his contemporary visual work; specifically, to his illustrations for Pierre Reverdy's book of poems Le Chant des morts. The idea of art as a sign language is traced to Picasso's 1924 drawings of "star charts" or "constellations". However, Picasso's 1945–48 designs using a similar vocabulary are analyzed as signifiers without signifieds—that is, as symbols, rather than signs. [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

When is it modernism? This article poses this question to traditionally based Indonesian musik kontemporer , as an occasion to examine a distinctive instance of musical modernism, but most importantly to illuminate issues with the question itself. Taking it literally, I identify when musik kontemporer was most clearly modernist, recognizing that modernism, and its conception of history, itself has a history. Scrutinizing the question's more usual goal of drawing a distinction between that which is and is not modernist, I show how the case of Rahayu Supanggah – a musician with a deep and primary commitment to the traditional performing arts, whose work has been shaped by his adoption of modernist ways of thinking without being fully defined by them – defies a simple answer. Ultimately, the article is concerned with what is at stake when invoking modernism, and what this means for the larger project of understanding musical modernism as a global phenomenon. [ABSTRACT FROM AUTHOR]