Aleksandra Shatskikh
- Published in print:
- 2012
- Published Online:
- October 2013
- ISBN:
- 9780300140897
- eISBN:
- 9780300162295
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300140897.003.0001
- Subject:
- History, European Modern History
This chapter focuses on the origin of Kazimir Malevich's painting Black Square. It explains that although the painting was created in 1915, Malevich backdated to it 1913 because its biography had a ...
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This chapter focuses on the origin of Kazimir Malevich's painting Black Square. It explains that although the painting was created in 1915, Malevich backdated to it 1913 because its biography had a prenatal period which did indeed begin in 1913. The chapter discusses Malevich's participation in the exhibitions of the Jack of Diamonds society during this year and his development of Fevralism, which was the forerunner of his Suprematism. It also explores the nature of Fevralism and highlights its potential for constituting a serious contribution to the history of the Russian avant-garde art as an independent movement.Less
This chapter focuses on the origin of Kazimir Malevich's painting Black Square. It explains that although the painting was created in 1915, Malevich backdated to it 1913 because its biography had a prenatal period which did indeed begin in 1913. The chapter discusses Malevich's participation in the exhibitions of the Jack of Diamonds society during this year and his development of Fevralism, which was the forerunner of his Suprematism. It also explores the nature of Fevralism and highlights its potential for constituting a serious contribution to the history of the Russian avant-garde art as an independent movement.
Peter Knight
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748624102
- eISBN:
- 9780748671199
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748624102.001.0001
- Subject:
- History, American History: 20th Century
As a seminal event in late twentieth-century American history, the Kennedy assassination has permeated the American and world consciousness in a wide variety of ways. It has long fascinated American ...
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As a seminal event in late twentieth-century American history, the Kennedy assassination has permeated the American and world consciousness in a wide variety of ways. It has long fascinated American writers, filmmakers, and artists, and this book offers a critical introduction to the way the event has been constructed in a range of discourses. It looks at a variety of historical, political, and cultural attempts to understand Kennedy's death. Representations include: journalism from the time; historical accounts and memoirs; official investigations, government reports and sociological inquiries; the huge number of conspiracy-minded interpretations; novels, plays and other works of literature; and the Zapruder footage, photography, avant-garde art and Hollywood films. Considering the continuities and contradictions in how the event has been represented, the author focuses on how it has been seen through the lens of ideas about conspiracy, celebrity and violence. He also explores how the arguments about exactly what happened on 22 November 1963 have come to serve as a substitute way of debating the significance of Kennedy's legacy and the meaning of the 1960s more generally.Less
As a seminal event in late twentieth-century American history, the Kennedy assassination has permeated the American and world consciousness in a wide variety of ways. It has long fascinated American writers, filmmakers, and artists, and this book offers a critical introduction to the way the event has been constructed in a range of discourses. It looks at a variety of historical, political, and cultural attempts to understand Kennedy's death. Representations include: journalism from the time; historical accounts and memoirs; official investigations, government reports and sociological inquiries; the huge number of conspiracy-minded interpretations; novels, plays and other works of literature; and the Zapruder footage, photography, avant-garde art and Hollywood films. Considering the continuities and contradictions in how the event has been represented, the author focuses on how it has been seen through the lens of ideas about conspiracy, celebrity and violence. He also explores how the arguments about exactly what happened on 22 November 1963 have come to serve as a substitute way of debating the significance of Kennedy's legacy and the meaning of the 1960s more generally.
Xiaoping Lin
- Published in print:
- 2009
- Published Online:
- November 2016
- ISBN:
- 9780824833367
- eISBN:
- 9780824870607
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833367.001.0001
- Subject:
- Society and Culture, Asian Studies
This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the ...
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This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. The book juxtaposes and compares artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. It provides close readings of a variety of visual texts and artistic practices, including installation, performance, painting, photography, video, and film. Throughout it sustains a theoretical discussion of representative artworks and films and succeeds in delineating a variegated postsocialist cultural landscape saturated by market forces, confused values, and lost faith. The book tackles both Chinese art and cinema rigorously within a shared discursive space. It conceptualizes a central thematic concern in both genres as “postsocialist trauma” aggravated by capitalist globalization. The book brings about a dialogue between the narrow field of traditional art history and visual studies more generally.Less
This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. The book juxtaposes and compares artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. It provides close readings of a variety of visual texts and artistic practices, including installation, performance, painting, photography, video, and film. Throughout it sustains a theoretical discussion of representative artworks and films and succeeds in delineating a variegated postsocialist cultural landscape saturated by market forces, confused values, and lost faith. The book tackles both Chinese art and cinema rigorously within a shared discursive space. It conceptualizes a central thematic concern in both genres as “postsocialist trauma” aggravated by capitalist globalization. The book brings about a dialogue between the narrow field of traditional art history and visual studies more generally.
Xiao Lu
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028122
- eISBN:
- 9789882206816
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028122.003.0008
- Subject:
- Society and Culture, Asian Studies
This chapter discusses the author's participation in the China Avant-garde Art Exhibition in Beijing, China. It explains that her participation at the exhibit was a pure coincidence because she did ...
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This chapter discusses the author's participation in the China Avant-garde Art Exhibition in Beijing, China. It explains that her participation at the exhibit was a pure coincidence because she did not receive any application form and she just received a letter saying that the installation Dialogue has been accepted for exhibition. It also relates her decision to fire a gun during the exhibit, her borrowing of the gun from Zhao Xiaoshu, and the assistance provided by Lan Jun in setting up her installation.Less
This chapter discusses the author's participation in the China Avant-garde Art Exhibition in Beijing, China. It explains that her participation at the exhibit was a pure coincidence because she did not receive any application form and she just received a letter saying that the installation Dialogue has been accepted for exhibition. It also relates her decision to fire a gun during the exhibit, her borrowing of the gun from Zhao Xiaoshu, and the assistance provided by Lan Jun in setting up her installation.
Roberto Simanowski
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816667376
- eISBN:
- 9781452946788
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816667376.003.0003
- Subject:
- Art, Art Theory and Criticism
This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, ...
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This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, Generation Flash, and the aesthetics of the spectacle. It also compares the culture of the depthless image in the digital age to the pure painting of the avant-garde art of the previous century.Less
This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, Generation Flash, and the aesthetics of the spectacle. It also compares the culture of the depthless image in the digital age to the pure painting of the avant-garde art of the previous century.
Faye Yuan Kleeman
- Published in print:
- 2014
- Published Online:
- November 2016
- ISBN:
- 9780824838607
- eISBN:
- 9780824871482
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824838607.003.0006
- Subject:
- History, Asian History
This chapter examines the relationship between private body and empire by focusing on the life experiences of two modern dancers from the colonies: Choi Seunghee (1911–1969) of Chōsen and Tsai ...
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This chapter examines the relationship between private body and empire by focusing on the life experiences of two modern dancers from the colonies: Choi Seunghee (1911–1969) of Chōsen and Tsai Juiyueh (1921–2 005) of Taiwan. The stories of Choi and Tsai illustrate how the cosmopolitanism and universalism inherent in avant-garde art can overcome the colonial division between the metropole and the colonies and yet be handicapped by postcolonial conditions. These two women are prime examples of how knowledge and (colonial) modernity circulated within the Japanese empire. This chapter explores how the lives of Choi and Tsai intersected and were altered by their encounters with the Japanese modern dancer Ishii Baku. It also considers the role of dance in elucidating the diverse patterns and trajectories of knowledge flow and cultural exchanges within the empire, and in a global movement of avant-garde art.Less
This chapter examines the relationship between private body and empire by focusing on the life experiences of two modern dancers from the colonies: Choi Seunghee (1911–1969) of Chōsen and Tsai Juiyueh (1921–2 005) of Taiwan. The stories of Choi and Tsai illustrate how the cosmopolitanism and universalism inherent in avant-garde art can overcome the colonial division between the metropole and the colonies and yet be handicapped by postcolonial conditions. These two women are prime examples of how knowledge and (colonial) modernity circulated within the Japanese empire. This chapter explores how the lives of Choi and Tsai intersected and were altered by their encounters with the Japanese modern dancer Ishii Baku. It also considers the role of dance in elucidating the diverse patterns and trajectories of knowledge flow and cultural exchanges within the empire, and in a global movement of avant-garde art.
Cara L. Lewis
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781501749179
- eISBN:
- 9781501749193
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501749179.003.0006
- Subject:
- Art, Photography
This chapter investigates how Gertrude Stein plays with the Künstlerroman. In The Autobiography of Alice B. Toklas (1933), she offers her own assessment of the position of the artist in a saturated ...
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This chapter investigates how Gertrude Stein plays with the Künstlerroman. In The Autobiography of Alice B. Toklas (1933), she offers her own assessment of the position of the artist in a saturated media marketplace. Reading The Autobiography alongside Stein's other work, the chapter examines Stein's deployment of photographic illustrations, tropes, and techniques as a crucial strategy in her attempt to picture the history of modernism and to secure her spot within it. In particular, The Autobiography's underexamined photographs show how an ostensibly formless form—the surface—becomes the instrument of Stein's experimental history, as she skims across major developments in modernist and avant-garde art and literature and touches on as many famous figures as possible. In this way, while earlier chapters discuss the forms that populate modernist texts or the formal theories that purport to elucidate them, the chapter turns to the forms taken by modernism itself, which takes shape in the “contact zone” of The Autobiography.Less
This chapter investigates how Gertrude Stein plays with the Künstlerroman. In The Autobiography of Alice B. Toklas (1933), she offers her own assessment of the position of the artist in a saturated media marketplace. Reading The Autobiography alongside Stein's other work, the chapter examines Stein's deployment of photographic illustrations, tropes, and techniques as a crucial strategy in her attempt to picture the history of modernism and to secure her spot within it. In particular, The Autobiography's underexamined photographs show how an ostensibly formless form—the surface—becomes the instrument of Stein's experimental history, as she skims across major developments in modernist and avant-garde art and literature and touches on as many famous figures as possible. In this way, while earlier chapters discuss the forms that populate modernist texts or the formal theories that purport to elucidate them, the chapter turns to the forms taken by modernism itself, which takes shape in the “contact zone” of The Autobiography.
Marco Deseriis
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816694860
- eISBN:
- 9781452952413
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694860.001.0001
- Subject:
- Sociology, Politics, Social Movements and Social Change
This book offers a genealogy and theory of the improper name—defined as the adoption of the same pseudonym by organized collectives, affinity groups and individual authors. Improper Names focuses on ...
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This book offers a genealogy and theory of the improper name—defined as the adoption of the same pseudonym by organized collectives, affinity groups and individual authors. Improper Names focuses on shared pseudonyms that make their appearance in Europe and North America at three critical historic junctures: the Industrial Revolution, the shift from Fordism to post-Fordism, and the emergence of the network society. While proper names designate a referent as part of the operation of a system of signs, improper names fail to circumscribe a clearly defined domain. An improper name differs from other collective subjects of enunciation in that its progenitors are ultimately unable to control third-party usages. The book examines this tension between centralization and decentralization, the We and the I, by focusing on five case studies: Ned Ludd, a pseudonym shared by the English machine breakers of the early nineteenth-century known as the Luddites; Alan/Allen Smithee, an alias adopted by Hollywood film directors from 1969 to 1999 to disown films that were re-cut by film producers; Monty Cantsin, an “open pop star” created by U.S. and Canadian mail artists in the late 1970s to share their reputation and critique bourgeois notions of authorship as originality and novelty; Luther Blissett, a folk hero of the information age introduced by Italian media activists in the 1990s to prank the media and the culture industry; and Anonymous, a signature globally shared by Internet activists to protest against censorship and restricted access to information and information technologies.Less
This book offers a genealogy and theory of the improper name—defined as the adoption of the same pseudonym by organized collectives, affinity groups and individual authors. Improper Names focuses on shared pseudonyms that make their appearance in Europe and North America at three critical historic junctures: the Industrial Revolution, the shift from Fordism to post-Fordism, and the emergence of the network society. While proper names designate a referent as part of the operation of a system of signs, improper names fail to circumscribe a clearly defined domain. An improper name differs from other collective subjects of enunciation in that its progenitors are ultimately unable to control third-party usages. The book examines this tension between centralization and decentralization, the We and the I, by focusing on five case studies: Ned Ludd, a pseudonym shared by the English machine breakers of the early nineteenth-century known as the Luddites; Alan/Allen Smithee, an alias adopted by Hollywood film directors from 1969 to 1999 to disown films that were re-cut by film producers; Monty Cantsin, an “open pop star” created by U.S. and Canadian mail artists in the late 1970s to share their reputation and critique bourgeois notions of authorship as originality and novelty; Luther Blissett, a folk hero of the information age introduced by Italian media activists in the 1990s to prank the media and the culture industry; and Anonymous, a signature globally shared by Internet activists to protest against censorship and restricted access to information and information technologies.
Kálra Móricz
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520250888
- eISBN:
- 9780520933682
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520250888.003.0007
- Subject:
- Music, History, Western
The goal of utopias is total unity, accomplished through total order, which has also been the essential quality of totalitarian political systems in the twentieth century. Nothing proved utopias' ...
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The goal of utopias is total unity, accomplished through total order, which has also been the essential quality of totalitarian political systems in the twentieth century. Nothing proved utopias' dystopian potential more than the recognition that “ideal” states, as the existence of communist and Nazi states demonstrated, could indeed be realized, and that their realization is horrific. Utopian thinking was not limited to social theories and totalitarian political practices. Artists' interest in wholeness, perfection, and progress made them especially susceptible to utopian visions. Avant-garde art at the beginning of the twentieth century was especially utopian. Futurists' celebration of violence as a purifying force, the abstract tendencies in the Russian avant-garde, and the spiritual strivings of some expressionists all bear the mark of utopia.Less
The goal of utopias is total unity, accomplished through total order, which has also been the essential quality of totalitarian political systems in the twentieth century. Nothing proved utopias' dystopian potential more than the recognition that “ideal” states, as the existence of communist and Nazi states demonstrated, could indeed be realized, and that their realization is horrific. Utopian thinking was not limited to social theories and totalitarian political practices. Artists' interest in wholeness, perfection, and progress made them especially susceptible to utopian visions. Avant-garde art at the beginning of the twentieth century was especially utopian. Futurists' celebration of violence as a purifying force, the abstract tendencies in the Russian avant-garde, and the spiritual strivings of some expressionists all bear the mark of utopia.
Rebecca Beasley
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198802129
- eISBN:
- 9780191840531
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198802129.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism, World Literature
This first interchapter tells the early history of ‘the Whitechapel Group’, the network of Russian Jewish artists and writers who grew up together in the East End of London. We tend to separate the ...
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This first interchapter tells the early history of ‘the Whitechapel Group’, the network of Russian Jewish artists and writers who grew up together in the East End of London. We tend to separate the members of this group into associations with different modernist sets—David Bomberg and Jacob Kramer with Wyndham Lewis’s vorticists, Mark Gertler with the Bloomsbury group, John Rodker with James Joyce and Ezra Pound, and Isaac Rosenberg with the war poets. When the Whitechapel Group’s collective identity has been considered, it has been almost exclusively in terms of the members’ Jewish ethnicity, but this chapter examines the significance of the other shared aspect of the Whitechapel Group’s heritage—that is, their families’ lives in, and departure from, the Russian Empire.Less
This first interchapter tells the early history of ‘the Whitechapel Group’, the network of Russian Jewish artists and writers who grew up together in the East End of London. We tend to separate the members of this group into associations with different modernist sets—David Bomberg and Jacob Kramer with Wyndham Lewis’s vorticists, Mark Gertler with the Bloomsbury group, John Rodker with James Joyce and Ezra Pound, and Isaac Rosenberg with the war poets. When the Whitechapel Group’s collective identity has been considered, it has been almost exclusively in terms of the members’ Jewish ethnicity, but this chapter examines the significance of the other shared aspect of the Whitechapel Group’s heritage—that is, their families’ lives in, and departure from, the Russian Empire.
Gabriele Brandstetter
- Published in print:
- 2015
- Published Online:
- April 2015
- ISBN:
- 9780199916559
- eISBN:
- 9780199370108
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199916559.003.0013
- Subject:
- Music, Dance
This chapter recontextualizes the pivotal period of avant-garde art at the turn of the century. Based on Rahel Varnhagen’s “dance dreams,” it first describes the transition from nineteenth-century ...
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This chapter recontextualizes the pivotal period of avant-garde art at the turn of the century. Based on Rahel Varnhagen’s “dance dreams,” it first describes the transition from nineteenth-century romanticism to fin de siècle. It then closes with a short look at the “dance ready-mades” of the 1990s.Less
This chapter recontextualizes the pivotal period of avant-garde art at the turn of the century. Based on Rahel Varnhagen’s “dance dreams,” it first describes the transition from nineteenth-century romanticism to fin de siècle. It then closes with a short look at the “dance ready-mades” of the 1990s.
Catherine Driscoll
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034249
- eISBN:
- 9780813038421
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034249.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
The vital terms of modernist cultural analysis and debate remain so because they constantly need to be reestablished. Cultural studies as it is defined and practiced at the beginning of the ...
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The vital terms of modernist cultural analysis and debate remain so because they constantly need to be reestablished. Cultural studies as it is defined and practiced at the beginning of the twenty-first century (at its best) takes “the new” as a task rather than a marvel, exploring the contemporaneity of culture as it is challenged and propelled by history and paying attention to the current, the ephemeral, and the marginal but always in relation to the equally modernist concept of a common culture. In combining this attention to how we live today with the modernist imperatives to, on the one hand, evaluate culture and, on the other, exhaustively document it, cultural studies is a perspective singularly attentive to the modernism that continues to define us. This chapter returns to what has so often been used as the exemplar, if not the definition, of modernism — namely, avant-garde art — and to the trouble with distinguishing between modernism and postmodernism.Less
The vital terms of modernist cultural analysis and debate remain so because they constantly need to be reestablished. Cultural studies as it is defined and practiced at the beginning of the twenty-first century (at its best) takes “the new” as a task rather than a marvel, exploring the contemporaneity of culture as it is challenged and propelled by history and paying attention to the current, the ephemeral, and the marginal but always in relation to the equally modernist concept of a common culture. In combining this attention to how we live today with the modernist imperatives to, on the one hand, evaluate culture and, on the other, exhaustively document it, cultural studies is a perspective singularly attentive to the modernism that continues to define us. This chapter returns to what has so often been used as the exemplar, if not the definition, of modernism — namely, avant-garde art — and to the trouble with distinguishing between modernism and postmodernism.
Amy C. Beal
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036361
- eISBN:
- 9780252093395
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036361.003.0004
- Subject:
- Music, History, American
This chapter focuses on the Jazz Composers Guild and the Jazz Composers Guild Orchestra, which directly affected Bley's career. The Jazz Composers Guild was a member-run musicians' cooperative. ...
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This chapter focuses on the Jazz Composers Guild and the Jazz Composers Guild Orchestra, which directly affected Bley's career. The Jazz Composers Guild was a member-run musicians' cooperative. Composers involved in the guild acknowledged their music as a branch of noncommercial, avant-garde art music in desperate need of subsidy and aimed to find support through foundation grants. Later in 1964, the Jazz Composers Guild produced a series of events featuring music by Bley and by some of the leading avant-garde jazz composers of the time, all of whom were founding members of the guild. Bley then created the Jazz Composers Guild Orchestra because having a band was a requirement of being in the guild.Less
This chapter focuses on the Jazz Composers Guild and the Jazz Composers Guild Orchestra, which directly affected Bley's career. The Jazz Composers Guild was a member-run musicians' cooperative. Composers involved in the guild acknowledged their music as a branch of noncommercial, avant-garde art music in desperate need of subsidy and aimed to find support through foundation grants. Later in 1964, the Jazz Composers Guild produced a series of events featuring music by Bley and by some of the leading avant-garde jazz composers of the time, all of whom were founding members of the guild. Bley then created the Jazz Composers Guild Orchestra because having a band was a requirement of being in the guild.
Peter Marks
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199545810
- eISBN:
- 9780191803475
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199545810.003.0049
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter examines how three different magazines — Good Morning, The Freeman, and The Modern Quarterly — contributed to political and cultural debate from a broadly leftist perspective. Two of ...
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This chapter examines how three different magazines — Good Morning, The Freeman, and The Modern Quarterly — contributed to political and cultural debate from a broadly leftist perspective. Two of them, Good Morning and The Freeman, did not survive the decade's first half. Good Morning was more concerned with political than cultural activity. The Freeman incorporated an assessment of avant-garde art into a broad consideration of cultural developments. The Modern Quarterly tried to fit an informed understanding of contemporary cultural trends into an overarching argument for fundamental social change.Less
This chapter examines how three different magazines — Good Morning, The Freeman, and The Modern Quarterly — contributed to political and cultural debate from a broadly leftist perspective. Two of them, Good Morning and The Freeman, did not survive the decade's first half. Good Morning was more concerned with political than cultural activity. The Freeman incorporated an assessment of avant-garde art into a broad consideration of cultural developments. The Modern Quarterly tried to fit an informed understanding of contemporary cultural trends into an overarching argument for fundamental social change.
Catherine M. Soussloff
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781517902414
- eISBN:
- 9781452958804
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517902414.003.0006
- Subject:
- Philosophy, Aesthetics
In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating ...
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In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating similitudes initiated by and proposed in The Treachery of Images (1928) were fulfilled in contemporary series painting, such as the Campbell’s soup cans by the Pop artist Andy Warhol.Less
In his writing on the Surrealist Magritte, Foucault explored the impact of avant-garde “word and image paintings” in the history of twentieth century painting. He proposed that the circulating similitudes initiated by and proposed in The Treachery of Images (1928) were fulfilled in contemporary series painting, such as the Campbell’s soup cans by the Pop artist Andy Warhol.
