Law Library Blog (July 2017): Legal Beagle's Blog Archive,
2017
Roger Williams University
Law Library Blog (July 2017): Legal Beagle's Blog Archive, Roger Williams University School Of Law
Law Library Newsletters/Blog
No abstract provided.
Circulations, Resémantisations. Le Palimpseste Aporétique,
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 ? Y a-t-il des …
Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme.,
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 : d’abord, l’émergence de Tàpies …
Kisses Sweeter Than Wine. Öyvind Fahlström And Billy Klüver: The Swedish Neo-Avant-Garde In New York,
2017
Karlstad University
Kisses Sweeter Than Wine. Öyvind Fahlström And Billy Klüver: The Swedish Neo-Avant-Garde In New York, Per Bäckström
Artl@s Bulletin
The Swedish artist Öyvind Fahlström moved to New York in 1961, where he meet the Swedish engineer Billy Klüver, and became part of the international neo-avant-garde movement. Fahlström’s performance, New York 1966, part of Klüver’s performance series 9 Evenings, is my point of departure for an analysis of the role of migration for the neo-avant-gardes in the 1960s. As intermediaries, Fahlström and Klüver brought new ideas both to New York and Stockholm, thus challenging the established view that American art was exported to the periphery. In reality, the New York art scene grew out of ideas and experiences arriving …
Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited,
2017
IHA, FCSH, Universidade Nova de Lisboa
Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited, Joana Baião
Artl@s Bulletin
This paper proposes to revisit some issues related to the impact of emigration on the paths followed by a group of six Portuguese painters who settled in Paris between 1958 and 1961. To do that, it will analyze and contextualize the evolution of their work in the first half of the 1960’s, and it will recall the small exhibition Seis Pintores Portugueses de Paris that opened in 1966 in Lisbon with the purpose of highlight the particularities of the artistic research that was being developed by those artists in Paris, integrating them into the international artistic movements of the period.
The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s),
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 …
Sample Assignments,
2017
Colby College
Backward Course Design,
2017
Colby College
Special Collections & Archives,
2017
Colby College
Bcma Information For Faculty,
2017
Colby College
List Of Participants,
2017
Colby College
Workshop Program,
2017
Colby College
Workshop Announcement,
2017
Colby College
Indian Head Rock Subject Of Independent Film Set For Ket, Ket2,
2017
Morehead State University
Indian Head Rock Subject Of Independent Film Set For Ket, Ket2, Staff Reporter
Indian Head Rock Project
Article in the Ashland Daily Independent on Steve Middleton's film documentary on the Indian Head Rock published on June 20, 2017.
« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930,
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,
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,
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,
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 the publication of …
Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them,
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.
Photo Synthesis: The Expatriate Family Album As Historiography,
2017
Independent
Photo Synthesis: The Expatriate Family Album As Historiography, Kamayani Sharma Ms
Proceedings from the Document Academy
I want to look at the expatriate family album as a site of history-writing.
Through an examination of three photographs from my childhood in West Asia, I try to think about the idea of historical space and time through the visual narratives available to me of my own family.
This essay will be an exploration of the way in which nostalgia for a personal past gets imbricated within the shared experience of a bygone cultural moment.
I am interested in how an encounter with visual material from private archives initiates memory work and how these traces from the past can …
