Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- History of Art, Architecture, and Archaeology (6)
- Cultural History (3)
- History (3)
- Comparative Literature (2)
- European History (2)
-
- Modern Art and Architecture (2)
- Photography (2)
- Art and Design (1)
- Contemporary Art (1)
- Digital Humanities (1)
- Film and Media Studies (1)
- Fine Arts (1)
- Interdisciplinary Arts and Media (1)
- Jewish Studies (1)
- Latin American History (1)
- Modern Literature (1)
- Museum Studies (1)
- Scandinavian Studies (1)
- Social and Behavioral Sciences (1)
- Sociology (1)
- Sociology of Culture (1)
- Theory and Criticism (1)
- United States History (1)
- Visual Studies (1)
Articles 1 - 8 of 8
Full-Text Articles in Arts and Humanities
Routes And Ruptures. Swedish Artistic Mobility In The Early Twentieth Century, Jessica Sjöholm Skrubbe
Routes And Ruptures. Swedish Artistic Mobility In The Early Twentieth Century, Jessica Sjöholm Skrubbe
Artl@s Bulletin
This article presents the results of an empirical study of Swedish artistic mobility during the first decades of the twentieth century, a period associated with the emergence of modernism in Swedish art and with Paris as an unquestionable point of reference. Without questioning Paris as an artistic node, it highlights the discrepancy between art history’s narrativisation of transnational mobility and the diverse artistic itineraries that empirical material evidences. Focusing on Swedish artists’ travels in France, Germany, Denmark, and Italy, it offers a geohistorical trajectory that differentiates established narratives.
“Dusty” Arcadias: Pastoral Visions And Greek Landscape In The Work Of Fred Boissonnas In The Context Of Mediterranean Cultural Myth, Marianna Karali
“Dusty” Arcadias: Pastoral Visions And Greek Landscape In The Work Of Fred Boissonnas In The Context Of Mediterranean Cultural Myth, Marianna Karali
Artl@s Bulletin
In the following paper, I examine the possible affiliation the Swiss commercial photographer Fred Boissonnas shared with certain groups of Greek-French Nationalists as early as in 1903-1907 and the way this particular nexus inspired the integrity of his work on Greek landscape, forming as well his naturalistic vision on photography. Within the visionary spectrum of a northerner excursionist and the aesthetic eye of a Pictorialist photographer, Boissonnas marked an Innovative gaze upon Mediterranean Arcadian Imagery, altering the Symbolic Classicism of von Gloeden paradigm of Italian South.
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Artl@s Bulletin
In this article, I argue that the putative global centrality of New York in art after 1945 is a construct, as it is for Paris prior to 1945. Monographs and national approaches are unsuccessful in challenging such powerful myths as these. A global, transnational and comparative approach demonstrates that the struggle for centrality was a global phenomenon after 1945, a battle that New York does not win (depending on one’s point of view) until after 1964. Rather than considering centres and peripheries as a fixed category, I propose to consider them as a strategic notion which artists and their promoters …
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
Artl@s Bulletin
What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.
Natan Zach’S Poetics Of Erasure, Michael Gluzman
Natan Zach’S Poetics Of Erasure, Michael Gluzman
CLCWeb: Comparative Literature and Culture
Natan Zach has often been described as the most influential Hebrew poet in the second half of the 20th century. Indeed, the scholar Dan Miron described him as a poet who had “reached the deepest part within us,” and as a “cultural leader” and “cultural hero.” Yet when Miron went on to detail Zach’s immense influence on other poets, he described his poetic legacy in exceedingly limiting formal terms such as “the use of enjambment” or “the magic of the unexpected rhyme, seemingly out of place.” Miron’s reading is symptomatic in the way it uses, indeed echoes, Zach’s own critical …
Metamodernism In Liksom’S Compartment No. 6, Kasimir Sandbacka
Metamodernism In Liksom’S Compartment No. 6, Kasimir Sandbacka
CLCWeb: Comparative Literature and Culture
In his paper "Metamodernism in Liksom's Compartment no. 6" Kasimir Sandbacka examines Rosa Liksom's latest novel Compartment No. 6 (2011). Liksom is considered to be one of the most prominent Finnish postmodernists. However, Compartment No. 6 has been seen by critics as a shift or return towards modernism or even realism. Sandbacka concurs with this observation but maintains that this is an insufficient analysis of the change in Liksom's writing. He argues that the change is related to the transformation of the cultural dominant, namely postmodernism. In dialogue with Jameson's theory of postmodernism, Sandbacka discusses recent theories of post-postmodernism and …
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Artl@s Bulletin
The alternative “centre‐periphery” is essential to the myth of modern art and its historiography. Even though Postcolonial studies have denounced the implications of such geopolitical hierarchies, as long as our objects remain centred on one capital city and within national boundaries, it will be difficult to escape the hierarchical paradigm that makes Paris and New York the successive capital cities of Modernism. This paper highlights how approaches focusing on different scales of analysis—from the quantitative and geographic to the monographic—challenge the supposed centrality of Paris through 1945.
Modernism, Seen From Prague, March 1937, Derek Sayer
Modernism, Seen From Prague, March 1937, Derek Sayer
Artl@s Bulletin
Focusing on the period 1890-1939, this paper explores exchanges between three generations of Prague artists and international—especially Parisian—avant-gardes. Documenting the extraordinary receptiveness of Prague to modernism, particularly in the applied arts, it argues for a thorough rethink of the conceptual geographies of art history.