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404 full-text articles. Page 1 of 13.

Writing The Histories Of Dada And Surrealist Exhibitions: Problems And Possibilities, Kathryn M. Floyd 2017 Auburn University

Writing The Histories Of Dada And Surrealist Exhibitions: Problems And Possibilities, Kathryn M. Floyd

Dada/Surrealism

No abstract provided.


General Editor’S Note, Timothy Shipe 2017 University of Iowa

General Editor’S Note, Timothy Shipe

Dada/Surrealism

No abstract provided.


Johannes Baader’S Postwar Plasto-Dio-Dada-Drama And German War Exhibitions During World War I, Katharina Hoins 2017 Hamburger Kunsthalle

Johannes Baader’S Postwar Plasto-Dio-Dada-Drama And German War Exhibitions During World War I, Katharina Hoins

Dada/Surrealism

No abstract provided.


Mise-En-Page To Mise-En-Scène: Intersecting Display Strategies In Dada Art Journals And Exhibitions, Emily Hage 2017 Saint Joseph's University

Mise-En-Page To Mise-En-Scène: Intersecting Display Strategies In Dada Art Journals And Exhibitions, Emily Hage

Dada/Surrealism

No abstract provided.


Brides Stripped Bare: Surrealism, The Large Glass, And U.S. Women’S Imaginary Museums, Susan Rosenbaum 2017 University of Georgia

Brides Stripped Bare: Surrealism, The Large Glass, And U.S. Women’S Imaginary Museums, Susan Rosenbaum

Dada/Surrealism

No abstract provided.


The 1940 International Exhibition Of Surrealism: A Cosmopolitan Art Dialogue In Mexico City, Dafne Cruz Porchini, Adriana Ortega Orozco 2017 Centre de Recherche et Documentation sur les Amériques (CREDA)

The 1940 International Exhibition Of Surrealism: A Cosmopolitan Art Dialogue In Mexico City, Dafne Cruz Porchini, Adriana Ortega Orozco

Dada/Surrealism

No abstract provided.


Thirteen Artists In A Tent: Danish Avant-Garde Exhibition Practice During World War Ii, Kerry Greaves 2017 University of Copenhagen

Thirteen Artists In A Tent: Danish Avant-Garde Exhibition Practice During World War Ii, Kerry Greaves

Dada/Surrealism

No abstract provided.


Kurt Schwitters And 27 Senses: Resonances In Norway, England, And Time, Wood Roberdeau 2017 Goldsmiths, University of London

Kurt Schwitters And 27 Senses: Resonances In Norway, England, And Time, Wood Roberdeau

Dada/Surrealism

No abstract provided.


Playing In The Wunderkammer, Carson & Miller 2017 University of Iowa

Playing In The Wunderkammer, Carson & Miller

Dada/Surrealism

No abstract provided.


Stavrinaki, Maria. Dada Presentism, Maxwell Hyett, Julian Jason Haladyn 2017 Western University

Stavrinaki, Maria. Dada Presentism, Maxwell Hyett, Julian Jason Haladyn

Dada/Surrealism

No abstract provided.


Notes On Contributors, 2017 University of Iowa

Notes On Contributors

Dada/Surrealism

No abstract provided.


Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel 2017 Ecole normale supérieure. Université de recherche Paris Sciences Lettres.

Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel

Artl@s Bulletin

Pourquoi trouve-t-on si peu d’études sur les resémantisations à l’œuvre dans les circulations artistiques ? Pourquoi dispose-t-on encore moins de théorie générale pour comprendre ces resémantisations ? Ce papier, s’interrogeant sur les questions que lève une approche circulatoire de l’histoire de l’art, passe en revue les méthodes et les sources qui peuvent contribuer à y répondre. Qu’est-ce qui porte le sens d’une œuvre d’art ? Comment le sens se constitue-t-il et évolue-t-il selon les temps et les lieux ? Quels sont les facteurs qui le font changer ? Quelles sont les conséquences possibles d’une resémantisation artistique ...


Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme., Claudia Grego 2017 Ecole Normale Supérieure de Paris

Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme., Claudia Grego

Artl@s Bulletin

Tout au long de sa carrière, Antoni Tàpies (1923-2012) fut partisan d’un modèle interprétatif qui permit l’appropriation individuelle de ses œuvres. Le peintre fut le défenseur et le bénéficiaire d’un mode de signification du tableau qui n’était ni univoque, ni prédéterminé. Dans cet article, on analysera comment cette ductilité interprétative a permis la resémantisation politique des œuvres de Tàpies pendant l’époque du franquisme (1939-1975). Guidés par une de ses premières créations, Croix de journal (1946 – 1947), nous tracerons les déplacements de ses toiles pour classifier les déclinaisons sémantiques de l’œuvre en trois grandes étapes ...


The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud 2017 Jawaharlal Nehru University

The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud

Artl@s Bulletin

This article analyzes the reception of Modern European Art in Calcutta in the early decades of the twentieth century. In the initial years, the knowledge of the European avant-gardes was limited. It then got rejected as a legitimate source of influence by the Bengal School ideologues close to the nationalist movement. In the early 1930s, the painter Jamini Roy paved the way for a new aesthetics which rejected the Bengal School ideological project and turned to folk arts as models. The style he pioneered naturally appealed to the global modern sensibility. The 1940s are marked by a phase of enthusiasm ...


« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret 2017 Ecole Normale Superieure de Paris

« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret

Artl@s Bulletin

Cet article examine les stratégies d'identification mises en œuvre par les artistes allemands et autrichiens exilés en France au moment où les expositions d'art « dégénéré » circulent dans l'Allemagne hitlérienne. Dans un contexte de tensions internationales et d'accueil méfiant des réfugiés allemands en France, certains collectifs d'artistes se définissent tour à tour comme fers de lance de l'« autre Allemagne », d'un héritage français de liberté artistique ou d'une « Internationale » artistique. En revanche, ces artistes ne franchissent pas le pas d'un « retournement du stigmate » (Goffman) vis-à-vis du qualificatif nazi « dégénéré ».


Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti 2017 Katholieke Universiteit Leuven

Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti

Artl@s Bulletin

Following his move to Paris at the end of 1933, Wassily Kandinsky clung to his conviction that art must remain free of politics. The purpose of this essay is to consider both the limitations and advantages of this position in the polarized political climate of the French capital and to chart the aesthetic path he embarked on after his arrival, with particular reference to the personal ties and artistic alliances that he forged (or not) in this complex cultural terrain. Far from having nothing to do with politics, the transformation his painting underwent in Paris, the period he dubbed “synthetic ...


Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs 2017 Art Center College of Design

Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs

Artl@s Bulletin

A little known group of Hungarian artists who were students at the Hungarian Academy of Fine Arts, Budapest in 1927-1930, joined by a few artists from outside the Academy, were modernists, explored the Soviet Russian avant-garde and abstraction, and therefore were rejected by the mainstream, official art in Hungary. However, the strictly principled left-wing Munka (Work) Circle of Lajos Kassák was not hospitable to therm, either. Members of “The Progressives” group left Hungary in 1930. The increasingly classicist Hungarian avant-garde did not tolerate bias; thus the idiosyncratic poet and artist Tamkó-Sirató had to leave Hungary, too and develop his Dimensionism ...


From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou 2017 Università Ca' Foscari Venezia

From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou

Artl@s Bulletin

The purpose of this article is to illustrate a little known episode of Salvador Dalí’s initial intervention in the surrealist movement: his relationship with Catalan writer Josep Vicenç Foix. To what extent writers such as Foix adapted Surrealism in his own writing and what kind of exchanges he had with Paris? Was Foix a predecessor of Dalí’s surrealist writing? As early as 1918, J.V. Foix made an impact in Catalan literary circles and one of the first imitators of Apollinaire (and maybe Breton). After 1926 Foix he developed a close relationship with Dalí and helped him with ...


Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal 2017 Universidade Nova de Lisboa

Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal

Artl@s Bulletin

This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance.


A Period Examination Through Contemporary Energy Analysis Of Kevin Roche’S Fine Arts Center At University Of Massachusetts-Amherst, L Carl Fiocchi Jr 2017 University of Massachusetts - Amherst

A Period Examination Through Contemporary Energy Analysis Of Kevin Roche’S Fine Arts Center At University Of Massachusetts-Amherst, L Carl Fiocchi Jr

L. Carl Fiocchi

Studies of buildings belonging to a subset of Modernist architecture, Brutalism, have included discussions pertaining to social and architectural history, critical reception, tectonic form and geometry inspirations, material property selections, period technology limitations, and migration of public perceptions. Evaluations of Brutalist buildings’ energy related performances have been restricted to anecdotal observations with particular focus on the building type’s poor thermal performance, a result of the preferred construction method, i.e. monolithic reinforced concrete used as structure, interior finish and exterior finish. A valid criticism, but one that served to dismiss discussion that the possibility of other positive design strategies ...


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