Dada's Manifestos and Peter Bürger's Theory of the Avant-garde
Dada's Manifestos and Peter Bürger's Theory of the Avant-garde

Author: Marco Hompes

Publisher: GRIN Verlag

Published: 2011

Total Pages: 37

ISBN-13: 3640803930

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Essay from the year 2010 in the subject Art - Art Theory, General, grade: 8,5, University of Amsterdam (Cultural Analysis), course: Art as an Institute and its Critique, language: English, abstract: 1. Introduction The avant-garde intends the abolition of autonomous art by which it means that art is to be integrated into the praxis of life. At least this is what Peter Bürger states in his groundbreaking book Theory of the Avant-garde. In the book Bürger gives some examples that shall acknowledge and prove his theory, e.g. René Magritte or Marcel Duchamp. It is clear that such examples need to stay eclectic in order to fit the developed theory. In the following Bürger's text will be put to the acid test by analysing some avant-garde works through the eyes of Peter Bürger, and it shall be examined if specific, programmatic avant-gardist works go well with his theory. The manifestos by the (first) Dadaists in Zürich seem to be extremely useful for this attempt. Their "productions" haven't been canonised yet and have served as an example for further Dadaistic productions in Germany, the USA, the Netherlands, Romania, Georgia, Poland etc. They (excessively) produced manifestos and declared their ideals and plans. However, these declarations always remain a bit opaque as they avoid clear statements and explicitly write absurd. In their works the Dadas often make statements and shortly afterwards reject them again. Tristan Tzara's manifestos are great examples of this kind of text, therefore this paper focuses on his writings but will consider manifestos by Walter Serner, thoughts by Marcel Janco or Hugo Ball as well. Can Theory of the Avant-garde be a key to excerpt meaning from the Dadaistic text production, or do the manifestos go beyond Bürger's theory, or even prove him wrong?

European Avant-garde
European Avant-garde

Author: Dietrich (editor) Scheunemann

Publisher: Rodopi

Published: 2000

Total Pages: 284

ISBN-13: 9789042012042

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This collection of critical essays is designed to lay the foundations for a new theory of the European avant-garde. It starts from the assumption that not one all-embracing intention of all avant-garde movements - i.e. the intention of "reintegrating art into the practice of life" (Peter Bürger) - but the challenge of new cultural technologies, in particular photography and cinema, constitutes the main driving force of the formation and further development of the avant-garde. This approach permits to establish a theoretical framework that takes into account the diversity of artistic aims and directions of the various art movements and encourages a wide and open exploration of the multifaceted and often contradictory nature of the great variety of avant-gardist innovations. Following the theoretical foundation of the new approach, individual contributions concentrate on a diverse range of avant-gardist concepts, trends and manifestations from cubist painting and the literary work of Apollinaire and Gertrude Stein to the screeching voices of futurism, dadaist photomontage and film, surrealist photographs and sculptures and neo-avant-gardist theories as developed by the French group OuLiPo. The volume closes with new insights gained from placing the avant-garde in the contexts of literary institutions and psychoanalytical and sociological concepts. The main body of the volume is based on presentations and discussions of a three-day research seminar held at Yale University, New Haven, in February 2000. The research group formed on this occasion will continue with its efforts to elaborate a new theory of the avant-garde in the coming years.

Poetry of the Revolution
Poetry of the Revolution

Author: Martin Puchner

Publisher: Princeton University Press

Published: 2006

Total Pages: 340

ISBN-13: 9780691122601

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Martin Puchner tells the story of political and artistic upheavals through the political manifestos of the 19th and 20th centuries. He argues that the manifesto was the genre through which modern culture articulated its revolutionary ambitions and desires.

Interpreting Modernism in Korean Art
Interpreting Modernism in Korean Art

Author: Kyunghee Pyun

Publisher: Routledge

Published: 2021-09-30

Total Pages: 292

ISBN-13: 1000453553

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This book examines the development of national emblems, photographic portraiture, oil painting, world expositions, modern spaces for art exhibitions, university programs of visual arts, and other agencies of modern art in Korea. With few books on modern art in Korea available in English, this book is an authoritative volume on the topic and provides a comparative perspective on Asian modernism including Japan, China, and India. In turn, these essays also shed a light on Asian reception of and response to the Orientalism and exoticism popular in Europe and North America in the early twentieth century. The book will be of interest to scholars working in art history, the history of Asia, Asian studies, colonialism, nationalism, and cultural identity.

Rhetorical Movement
Rhetorical Movement

Author: David Zarefsky

Publisher:

Published: 1993

Total Pages: 280

ISBN-13:

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Ten essays explore aspects of rhetorical theory and criticism, focusing on American society. Among the topics are David Crockett and the Tennessee squatters, Walt Whitman, modern art, and international interventionism narratives. No index. Annotation copyright by Book News, Inc., Portland, OR

Critical Terms for Art History, Second Edition
Critical Terms for Art History, Second Edition

Author: Robert S. Nelson

Publisher: University of Chicago Press

Published: 2003-04

Total Pages: 558

ISBN-13: 9780226571669

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The words used to describe and analyse art are the subject of this examination of the new scope of art history and the terms used by those involved in visual and pictorial theory.

Sculpture and the Vitrine
Sculpture and the Vitrine

Author: JohnC. Welchman

Publisher: Routledge

Published: 2017-07-05

Total Pages: 477

ISBN-13: 1351549480

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Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.