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Full-Text Articles in Arts and Humanities
Phenomenology Of Visual Arts In William Faulkner's The Sound And The Fury And As I Lay Dying, Zeinab Zamani
Phenomenology Of Visual Arts In William Faulkner's The Sound And The Fury And As I Lay Dying, Zeinab Zamani
MSU Graduate Theses
The early decades of the 20th century marked drastic changes in philosophy, science, visual arts, literature, and music. In philosophy, this change occurred in the work of Edmund Husserl whose Phenomenology introduced a new “way of knowing” or epistemology. In art, the exhibition of Pablo Picasso’s Cubist Les Demoiselles d’Avignon (1907), given its rebellious nature, began an innovative artistic tradition which called for a new “way of seeing.” Phenomenology as theory and Cubism as practice shared a common aim: to re-vision the world—an aim of many Modernist movements. Modernism is an umbrella term for a mélange of artistic schools and …
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Publications and Research
Fauve painters “discovered” African and Oceanic sculpture beginning in 1905. From that time, Vlaminck first collected African art; Derain studied Oceanic works at the British Museum in spring 1906; and Matisse struggled to paint a Kongo-Vili statuette he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural works suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called “primitive” material culture. Nevertheless, the dominant conceptual framework of “primitivism” has tended to limit art-historical understandings of external formal influences on modernism, which can be gleaned here by investigating the particular objects the Fauves appropriated.
'Degenerate Art': The Avant-Garde In The Face Of Nazism, Margaret L. Alisberg
'Degenerate Art': The Avant-Garde In The Face Of Nazism, Margaret L. Alisberg
Senior Theses and Projects
In 1937, the Nazis curated the Entartete Kunst, which was a propagandistic exhibition created by Joseph Goebbels to discredit avant-garde art in Germany. The exhibition took place alongside another show, the pro-National Socialist Grosse Deutsche Kunstausstellung (Great German Art Exhibition). This paper is an depth look into why the Nazis hated the avant-garde and the threat that they felt it posed to their Aryan Society, the vital role it played in their overall agenda, their activities to discredit the art in the eyes of the German public, and how their plan against modernism eventually backfired.