Results for 'Modernism (Art) History'

220 found
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  1.  11
    Modernism's History: A Study in Twentieth-century Art and Ideas.Bernard Smith - 1998 - Yale University Press.
    The history of twentieth-century visual arts can no longer be written as a succession of avant-garde movements, contends eminent art historian Bernard Smith in this stimulating book. He argues that a return to the concept of period style is inevitable and that modernism--the dominant "style" of art that emerged at the end of the nineteenth century and continued through the 1960s--deserves recognition as a period style. Smith renames this period Formalesque since it is no longer modern and since (...)
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  2. Bernard Smith, Modernism's History: A Study in Twentieth-Century Art and Ideas.P. Beilharz - 1999 - Thesis Eleven 59:121-122.
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  3.  15
    Kate Davis: Re-Visioning Art History after Modernism and Postmodernism.Victoria Horne - 2015 - Feminist Review 110 (1):34-54.
    This article engages with the work of Scotland-based artist Kate Davis (b.1977). The discussion begins to articulate a framework for understanding Davis's work within a feminist logic of re-visioning and re-citing, strategies that are explicated and suggested as paradigmatic to feminist art production since 1970. Fundamentally, the article explores Davis's complex strategies for adopting and adapting motifs from within the archives of art history, arguing that her work constitutes a mode of visual research and historiography.
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  4.  12
    Vitalist modernism: art, science, energy and creative evolution.Fae Brauer (ed.) - 2023 - New York: Routledge, Taylor & Francis Group.
    This book reveals how, when, where and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Tauber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of (...)
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  5.  25
    Beat Wyss, Hegel's Art History and the Critique of Modernity, transl. Caroline Dobson Saltzwedel , pp. xv + 288; 60 b/w illustrations. ISBN 0-521-59211-9. - James J. Sheehan, Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism , pp. vii + 258; 31 b/w illustrations. ISBN 0-19-513572-5. [REVIEW]Jason Gaiger - 2004 - Hegel Bulletin 25 (1-2):178-182.
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  6.  8
    History of a Shiver: The Sublime Impudence of Modernism.Jed Rasula - 2016 - Oxford University Press USA.
    An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or (...)
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  7.  7
    Surveying the avant-garde: questions on modernism, art, and the Americas in transatlantic magazines.Lori Cole - 2018 - University Park, Pennsylvania: The Pennsylvania State University Press.
    Examines art and literature of the Americas through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde. Demonstrates how modernism and the avant-garde were debated at the very moment of their development and consolidation"--Provided by publisher.
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  8. Beat Wyss’s Hegel's Art History And The Critique Of Modernity , James J Sheehan’s Museums In The German Art World: From The End Of The Old Regime To The Rise Of Modernism[REVIEW]Jason Gaiger - 2004 - Bulletin of the Hegel Society of Great Britain 49:178-182.
     
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  9.  47
    On Writing Art History in Australia.Bernard Smith - 2005 - Thesis Eleven 82 (1):5-15.
    In this article, presented as the Second Annual Thesis Eleven Centre Lecture in 2003, Bernard Smith discusses the practice of writing art history in, and about, Australia and Europe. Smith defends periodization, and argues for the necessity of henceforth viewing what is typically called modernism as what he calls the formalesque. Further discussion includes problems of classification, the role of theory, and the place of Aboriginal art in white art history. The article thus surveys the condition of (...)
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  10.  18
    Fashioning modernism: Rose piper’s painting and fabric design.Saul Nelson - 2022 - Angelaki 27 (3-4):125-142.
    This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...
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  11.  25
    (1 other version)Modernist Heresies [Damon Franke, Modernist Heresies: British Literary History, 1883–1924 ].K. E. Garay - 2008 - Russell: The Journal of Bertrand Russell Studies 28 (1):89-93.
    In lieu of an abstract, here is a brief excerpt of the content:September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd Reviews 89 MODERNIST HERESIES K.yE. Garay Arts & Science/Research Collections / McMaster U. Hamilton, on, Canada l8s 4m2 garay@mcmaster.ca Damon Franke. Modernist Heresies: British Literary History, 1883–1924. Columbus : Ohio State U. P., 2008. Pp. xx, 258. isbn 978-0-8142-1074-1 (hb). us$47.95. The editor of the Russell journal summed up Modernist Heresies: British Literary History, 1883–1924z with his usual brevity (...)
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  12.  14
    On modernism.Jürgen Klein - 2019 - New York: Peter Lang.
    Modernism in British arts, literature and philosophy is manifest as a unique thing around and after 1900. This paradigm shift in all arts and modern science made traditional beliefs, norms, and social patterns obsolete. Forerunners were 19th century intellectuals, who favoured a new and lively spiritual culture. A new concept of reality changed the view of nature (atomic physics) but also structure and gist of literature. As the belief in the visible world declined, consciousness and symbolism (surface and depth (...)
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  13.  40
    Can the Arts Survive Modernism? (A Discussion of the Characteristics, History, and Legacy of Modernism).George Rochberg - 1984 - Critical Inquiry 11 (2):317-340.
    In trying to say what modernism is , we must remind ourselves that it cannot and must not—to be properly described and understood—be confined only to the arts of music, literature, painting, sculpture, theater, architecture, those arts with which we normally associate the term “culture.” Modernism can be said to embrace, in the broadest terms, not only the arts of Western culture but also science, technology, the family, marriage, sexuality, economics, the politics of democracy, the politics of authoritarianism, (...)
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  14. The pulse of modernism: experimental physiology and aesthetic avant-gardes circa 1900.Robert Michael Brain - 2008 - Studies in History and Philosophy of Science Part A 39 (3):393-417.
    When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ (...)
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  15.  63
    Bernard Smith’s Formalesque and the end of the history of art.Jim Berryman - 2014 - Thesis Eleven 123 (1):3-16.
    The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism's History (1998), the Formalesque is a proposed period style describing the art of the 20th century. Yet, despite his ambitions for the Formalesque as a new classification for modern art, the idea failed to appeal to academic art history. This paper does not attempt to salvage the Formalesque from art-historical obscurity. But it does argue Smith's work on this (...)
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  16.  36
    Victorian modernism: pragmatism and the varieties of aesthetic experience.Jessica R. Feldman - 2002 - New York: Cambridge University Press.
    In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining (...)
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  17.  22
    The Literate Eye: Victorian Art Writing and Modernist Aesthetics.Rachel Teukolsky - 2009 - Oup Usa.
    Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with (...)
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  18.  12
    The Art of Enigma: The de Chirico Brothers and the Politics of Modernism.Keala Jane Jewell - 2004 - Pennsylvania State University Press.
    In this interdisciplinary book, Keala Jewell reunites Giorgio de Chirico with his brother, Alberto Savinio, a prolific writer and painter who has been kept at the margins of the discussion of Surrealism and, more generally, the culture politics of twentieth-century Italy. Yet as Jewell demonstrates, the brothers worked together during their formative years in Munich and Paris and always shared, on the one hand, a drive to salvage Mediterranean myth and history and, on the other, a deep involvement with (...)
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  19.  12
    White musical mythologies: sonic presence in modernism.Edmund Mendelssohn - 2023 - Stanford, California: Stanford University Press.
    Examining a series of modernist thinkers and composers who engaged with non-European cultures as they pursued pure sound as a privileged presence, White Musical Mythologies pairs Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida to offer an ambitious intellectual history of the colonial roots of modernist musical thought. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music (...)
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  20.  5
    For the Love of Beauty: Art, History, and the Moral Foundations of Aesthetic Judgument.Arthur Pontynen - 2006 - Routledge.
    In For the Love of Beauty Pontynen begins by addressing the question of why the pursuit of truth is no longer acceptable in academic circles even though it has been intrinsic to the purpose of art at most times and in most cultures. Lacking the pursuit of truth, of some degree of knowledge of what is true and good, the humanities necessarily lack intellectual and cultural grounding and purpose. Fields of study such as philosophy, music, art, and history are (...)
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  21.  78
    After the End of Art: Contemporary Art and the Pale of History.Arthur Coleman Danto - 1997 - Princeton University Press.
    Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...)
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  22.  17
    The Russian avant-garde and radical modernism: an introductory reader.Denis G. Ioffe & Frederick H. White (eds.) - 2012 - Brighton, MA: Academic Studies Press.
    A remarkable volume, the Russian avant-garde and radical modernism brings together the most significant movements and figures in Russian experimental art, cinema and literature of the early twentieth century (both pre-Soviet and Soviet) and presents them in commentary by leading scholars in the field" -- p. [4] of cover.
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  23.  14
    Understanding Foucault, Understanding Modernism.David Scott (ed.) - 2017 - New York: Bloomsbury.
    Michel Foucault continues to be regarded as one of the most essential thinkers of the twentieth century. A brilliantly evocative writer and conceptual creator, his influence is clearly discernible today across nearly every discipline-philosophy and history, certainly, as well as literary and critical theory, religious and social studies, and the arts. This volume exploits Foucault's insistent blurring of the self-imposed limits formed by the disciplines, with each author in this volume discovering in Foucault's work a model useful for challenging (...)
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  24.  16
    Women, Modernism, and Performance.Penny Farfan - 2004 - Cambridge University Press.
    Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that (...)
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  25.  18
    Michael Fried and Philosophy: Absorption, Theatricality, and Modernism.Mathew Abbott (ed.) - 2017 - London: Routledge.
    This book brings together philosophers, literary theorists, and art historians to argue for the philosophical significance of Michael Fried’s art history and criticism. It demonstrates that Fried’s analyses of absorption and theatricality, and the accounts of modernism he develops from them, can throw new light on problems in aesthetics, and questions of authenticity, scepticism, modernity, and politics. Featuring an essay by Fried and articles from world-leading scholars, this collection contributes to current debates in aesthetics, modernism studies, literary (...)
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  26.  5
    Michael Fried and philosophy: modernism, intention, and theatricality.Mathew Abbott (ed.) - 2018 - London: Routledge Taylor & Francis Group.
    This book brings together philosophers, literary theorists, and art historians to argue for the philosophical significance of Michael Fried's art history and criticism. It demonstrates that Fried's analyses of absorption and theatricality, and the accounts of modernism he develops from them, can throw new light on problems in aesthetics, and questions of authenticity, scepticism, modernity, and politics. Featuring an essay by Fried and articles from world-leading scholars, this collection contributes to current debates in aesthetics, modernism studies, literary (...)
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  27.  17
    Shattered Forms: Art Brut, Phantasms, Modernism.Allen S. Weiss - 1992 - State University of New York Press.
    A thorough history of the involvement of Australia's Northern Territory in World War II. Includes photos, extensive notes and bibliography.
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  28.  11
    Classical Art: A Life History.David Cast - 2019 - Arion 27 (1):171-176.
    In lieu of an abstract, here is a brief excerpt of the content: Classical Art: A Life History DAVID CAST This is a wonderful book, rich in its purposes, wide in its range and, thanks to the author’s home institution, Christ’s College, Cambridge, lavishly illustrated with images of objects, many familiar, some less so. And it is written with an elegance and clarity that belies the depths of scholarship in its history. The first letter of the subtitle suggests (...)
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  29.  34
    Material Difference: Modernism and the Allegories of Discourse.William D. Melaney - 2012 - Amsterdam: Brill Rodopi.
    Material Difference: Modernism and the Allegories of Discourse argues that deconstruction can be employed in conjunction with the historically-oriented approach to cultural experience that is favored by Critical Theory. The two discourses that inform this comparative study situate Modernism between evolving traditions that begin with Hegel and Nietzsche, leading on to Adorno's commitment to philosophical aesthetics and Derrida's concern for writing (écriture). Interrelated discussions of eight major authors, working in four different languages, are presented to show how allegorical (...)
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  30.  6
    Objects in exile: modern art and design across borders, 1930-1960.Robin Schuldenfrei - 2024 - Princeton: Princeton University Press.
    An innovative new history of how the migration of designers in the 20th century shaped modernist art and architecture.
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  31.  8
    From modernism to postmodernism: between universal and local.Katarina Bogunović Hočevar, Gregor Pompe & Nejc Sukljan (eds.) - 2016 - New York: PL Academic Research.
    The book explores two radical changes of cultural and social paradigm that determined the World after 1945 - Modernism and Postmodernism. From the cataclysmic atmosphere emerged the second wave of Modernism. In art this attitude was manifested in the form of a radical break with the aesthetic and stylistic characteristics of prior generations. In architecture the International Style was born, meanwhile similar "universality" was also a characteristic of musical serialism. From the beginning of the 1970s the wheels again (...)
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  32.  26
    Modernism and nihilism.Shane Weller - 2010 - New York: Palgrave-Macmillan.
    At the heart of some of the most influential strands of philosophical, political, and aesthetic modernism lies the conviction that modernity is fundamentally nihilistic. This book offers a wide-ranging critical history of the concept of nihilism from its origins in French Revolutionary discourse to its place in recent theorizations of the postmodern. Key moments in that history include the concept's appropriation by political activists in mid-nineteenth-century Russia, by Nietzsche in the 1880s, by the European avant-garde and 'high' (...)
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  33.  28
    Modernism: an anthology of sources and documents.Vassiliki Kolocotroni, Jane Goldman & Olga Taxidou (eds.) - 1998 - Chicago: University of Chicago Press.
    From Bauhaus to Dada, from Virginia Woolf to John Dos Passos, the Modernist movement revolutionized the way we perceive, portray, and participate in the world. This landmark anthology is a comprehensive documentary resource for the study of Modernism, bringing together more than 150 key essays, articles, manifestos, and other writings of the political and aesthetic avant-garde between 1840 and 1950. By favoring short extracts over lengthier originals, the editors cover a remarkable range and variety of modernist thinking. Included are (...)
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  34.  65
    Distributed Cognition in Victorian Culture and Modernism.Miranda Anderson, Peter Garratt & Mark Sprevak (eds.) - 2020 - Edinburgh: Edinburgh University Press.
    Reinvigorates our understanding of Victorian and modernist works and society Offers a wide-ranging application of theories of distributed cognition to Victorian culture and Modernism Explores the distinctive nature and expression of notions of distributed cognition in Victorian culture and Modernism and considers their relation to current notions Reinvigorates our understanding of Western European works – including Wordsworth, T. S. Eliot and Virginia Woolf – and society by bringing to bear recent insights on the distributed nature of cognition Includes (...)
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  35.  9
    Littératures modernistes et arts d'avant-garde.Pierre Taminiaux - 2013 - Paris: Honoré Champion éditeur.
    Cet ouvrage étudie dans sa première partie des formes diverses d'écriture, de la critique d'art au récit en passant par la poésie et le manifeste. Leurs auteurs, de Beckett à Michaux et de Paz à Tzara, ont été liés aux avant-gardes de la première moitié du vingtième siècle (en particulier à dada et au surréalisme) tout en empruntant une voie originale. Il aborde ensuite dans sa seconde partie les rapports de peintres comme Magritte et Léger à l'architecture. En outre, il (...)
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  36. Monsters and Monuments: Real Spaces and the Survival of Art.Jakub Stejskal - forthcoming - Res: Anthropology and Aesthetics.
    A truism of art history is that the lifespan of artworks can exceed their original social spaces: Artworks can sometimes be successfully transplanted into completely different settings where they continue to be valued. Does their potential to outlive their original context have to do with a specific feature of artworks’ ontology? Or with how human brains are wired? Or is it a mere function of their historical and social circumstances? I argue that David Summers’s magisterial _Real Spaces: World Art (...)
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  37.  8
    Promised lands: cinema, geography, modernism.Sam Rohdie - 2001 - London: British Film Institute.
    This book is an innovative attempt by a leading film theorist to locate cinema--from the earliest experiments, via the work of Federico Fellini, Alfred Hitchcock, Roberto Rossellini, Orson Welles and many others, to contemporary European art cinema-- alongside philosophy, painting, geography and travel in terms of a history of modernism. The focal point of Promised Lands is a vast collection of geographical and ethnographic films and photographs made around the world, The Archives of the Planet . Based in (...)
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  38.  9
    Understanding Blanchot, understanding modernism.Christopher Langlois (ed.) - 2018 - New York, NY: Bloomsbury Academic.
    Maurice Blanchot occupies a central though still-overlooked position in the Anglo-American reception of 20th-century continental philosophy and literary criticism. On the one hand, his rigorous yet always-playful exchanges with the most challenging figures of the philosophical and literary canons of modernity have led thinkers such as Georges Bataille, Emmanuel Levinas, Jacques Derrida, and Michel Foucault to acknowledge Blanchot as a major influence on the development of literary and philosophical culture after World War II. On the other hand, Blanchot's reputation for (...)
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  39. Review of Art and Form: From Roger Fry to Global Modernism by Sam Rose. [REVIEW]Michalle Gal - 2020 - Estetica European Journal of Aesthetics 57:183-188.
    In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. (...)
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  40.  32
    The ambivalence of modernism from the weimar republic to national socialism and red vienna.Siegfried Mattl - 2009 - Modern Intellectual History 6 (1):223-234.
    Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich , which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded (...)
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  41.  51
    Effective history and the end of art: From Nietzsche to Danto.Ingrid Scheibler - 1999 - Philosophy and Social Criticism 25 (6):1-28.
    This article takes its shape from a recent conference at the School of Visual Arts in NYC on the theme, 'Tradition and the New: Educating the Artist for the Millennium'. Central to the way the conference was advertised and described was an implicit tendency to view tradition as wholly separate from the new. While the conference did not itself make a theoretical argument for the opposition of tradition and the new, Arthur Danto's recent elaboration of a thesis of the 'end (...)
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  42.  29
    Farewell to an Idea: Episodes from a History of Modernism.T. J. Clark - 2004 - Journal of Aesthetics and Art Criticism 62 (3):297-298.
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  43.  6
    Index of the Contemporary: Adorno, Art, Natural History.Ryan Crawford - 2018 - Evental Aesthetics 7 (2):32-71.
    That contemporary art is fundamentally irreducible to modernist art and aesthetics has become a commonplace of contemporary art theory and criticism. In marking this distinction, reference is often made to the obsolescence of once-dominant aesthetic categories and the need for breaking with aesthetic theories traditionally allied with artistic modernism. For many in the field of philosophical aesthetics, this means going beyond the work of Theodor W. Adorno and creating a conceptual discourse more appropriate to the current state of contemporary (...)
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  44.  26
    Axiomatics: mathematical thought and high modernism.Alma Steingart - 2023 - Chicago: University of Chicago Press.
    The first history of postwar mathematics, offering a new interpretation of the rise of abstraction and axiomatics in the twentieth century. Why did abstraction dominate American art, social science, and natural science in the mid-twentieth century? Why, despite opposition, did abstraction and theoretical knowledge flourish across a diverse set of intellectual pursuits during the Cold War? In recovering the centrality of abstraction across a range of modernist projects in the United States, Alma Steingart brings mathematics back into the conversation (...)
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  45.  11
    From History to Anarchy.Monica Ferrando, Francesco Guercio & Ian Alexander Moore - 2024 - Philosophy Today 68 (4):857-877.
    This text, touching on the problem of the ontology of the image from a political-theological perspective, focuses on Reiner Schürmann’s philosophical reading of the pictorial art of Louis Comtois. While placing it in the context of post-World War II modernism, he nevertheless underlines its special spiritual quality that, far from any theorization of messianic abstractionism or any affirmation of artistic sovereignty, shows all the anarchic simplicity of painting. It is a form of modernity still to be imagined but one (...)
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  46.  20
    (1 other version)Epistemology of Modernism [review of Ann Banfield, The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism ].William R. Everdell - 2001 - Russell: The Journal of Bertrand Russell Studies 21 (1):88-91.
    In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA EVERDELL@AOL.COM Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different (...)
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  47.  15
    The philosophy of modernism: (in its connection with music).Cyril Scott - 1917 - London: Kegan Paul, Trench, Trubner & co..
    Excerpt from The Philosophy of Modernism (in Its Connection With Music) The prerequisite to immortality in the world of art is the capacity to create something new, or, in other words, the capacity to invent a style. Indeed, let any one but survey the past history of music, poetry and painting, and he will notice that each great name stands for a literary or musical invention: so that to talk of Keats or Shelley, Beethoven or Wagner, is not (...)
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  48. Aufbau/Bauhaus: Logical Positivism and Architectural Modernism.Peter Galison - 1990 - Critical Inquiry 16 (4):709-752.
    On 15 October 1959, Rudolf Carnap, a leading member of the recently founded Vienna Circle, came to lecture at the Bauhaus in Dessau, southwest of Berlin. Carnap had just finished his magnum opus, The Logical Construction of the World, a book that immediately became the bible of the new antiphilosophy announced by the logical positivists. From a small group in Vienna, the movement soon expanded to include an international following, and in the sixty years since has exerted a powerful sway (...)
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    Modernity and the Text: Revisions of German Modernism.Andreas Huyssen & David Bathrick (eds.) - 1989 - Columbia University Press.
    The study of Austrian and German modernist literature has a long and venerable history in this country. There have been no attempts yet, however, to reassess German and Austrian literary modernism in light of current discussion of modernity and postmodernity. Addressing a set of historical and theoretical questions central to current reevaluations of modernism, this volume presents American readers with a state-of-the-art account of German modernism studies in the eighties. Essays by Jochen Schulte-Sasse, Russell A. Berman, (...)
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    Vision and Difference: Feminism, Femininity and the Histories of Art.Griselda Pollock - 2003 - Psychology Press.
    Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.
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