Such approaches tend to evince what may be the single most definitive characteristic of avant-gardism: namely, a highly-developed consciousness regarding the institutionalized practice of "art" itself.
Such approaches tend to evince what may be the single most definitive characteristic of avant-gardism: namely, a highly-developed consciousness regarding the institutionalized practice of "art" itself.Tags: Cover Letter For Education ResumeWoodland HomeworkResearch Proposal On Domestic ViolenceInto The Wild Essay PromptsThe Structure Of An Argumentative EssayOrwell Essay On WritingProblem Solving Strategies Examples
Rodrigues, Olinde, "L'artiste, le savant et l'industriel," trans. Matei Calinescu, The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism.
This does not mean simply that the avant-garde artist handles her materials in a manner different from the prevailing modus operandi, but rather that she interrogates the principle of medium specificity itself.
Duchamp's piece not only subverts habitual convictions about the materials appropriate for artistic production, but also raises the possibility that the conventions that structure our experience of art-including the art gallery, the show, exhibition, or opening, the critical review, the movement of spectators through the viewing space-are themselves a kind of medium, a means by which a message is altered as well as received.
These are the principles that lie behind such theorizations of the museum as Marcel Broodthaers' Muse d'Art Moderne, Dpartment des Aigles (1968) or Hans Haacke's Mo MA-Poll (1970).
4 Schwitters' description of wood lying against sackcloth evokes his own work with collage, and recalls the central importance of the collage form to various vanguard movements in the twentieth century.
For artists like Schwitters and Hannah Hch, the collage is a highly suggestive act of bricolage, a piecing together of materials that come to represent the fragmented nature of the culture from whose debris they are drawn. Krauss, Rosalind, "Video: The Aesthetics of Narcissism." October, Vol.1, no.1. 2 Clement Greenberg, "Towards a Newer Laocošn," in The Collected Essays and Criticism, Volume I: Perceptions and Judgments (Chicago: The University of Chicago Press, 1986), 34. Durham: Duke University Press, 1987 Image Gallery Jackson Pollock, Convergence (1952) Stephane Mallarm, pages from Un coup de ds (1897) photograph of Kurt Schwitters, Hanover Merzbau (1930) Hannah Hoch, Sliced with the Dada Kitchen Knife Through the Last Weimar Beerbelly Cultural Epoch Germany (1919-20) Andy Warhol, Orange Car Crash (1963) Max Ernst, Oedipus Rex (1922) Marcel Duchamp, Fountain (1917) Marcel Broodthaers Muse d'Art Moderne, Dpartement des Aigles (1968) Hans Haacke, Mo Ma-Poll (1970) Robert Morris, Corner Piece (1964) Nam June Paik, Magnet TV (1965) Kara Walker, Gone: An Historical Romance of Civil War As it Occurred Between the Dusky Thighs of Young Negress and Her Heart (1994) Yoshimoto Nara, Fountain of Life (2001) Zoe Leonard, Pin-Up #1 (Jennifer Miller Does Marilyn Monroe) (1995) Richard Prince, from the book Women (2004) 1 Olinde Rodrigues, "L'artiste, le savant et l'industriel," translated and quoted in Matei Calinescu, The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism (Durham: Duke University Press, 1987), 103.The Surrealist's celebration of the unconscious mind seems theoretically as well as politically tame in comparison to such audacious interrogations of high art as Warhol's Crash paintings, or, perhaps more to the point, the work of their contemporary, Marcel Duchamp.A provocative and playful examination of the institutional framework within which contemporary art is received and by which it is mediated, Duchamp's Fountain (1917) is the ancestral paradigm of installation art, a genre which increasingly exemplified avant-garde practice during the Cold War era.To include mass media images as part of an original work upsets conventional distinctions regarding what is and is not art, and suggests that the Kantian model of the art object's disinterestedness masks the unsettling reality [1,2] that all art is a form of advertising.This ambivalent synthesis of high art and popular culture characterizes the work of artists affiliated with vanguards like Pop Art, Fluxus, and Assemblage. Jameson, Frederic, Postmodernism, or, the Cultural Logic of Late Capitalism. Chipp, Theories of Modern Art: A Source Book by Artists and Critics (Berkeley: University of California Press, 1968), 383. David Gascoyne, in Chipp, Theories of Modern Art, 412-13. 12 Krauss, "A Voyage on the North Sea": Art in the Age of the Post-Medium Condition (New York: Thames & Hudson, Inc., 1999), 56. --------------------, "A Voyage on the North Sea": Art in the Age of the Post-Medium condition. Mc Luhan, Marshall, Understanding Media: The Extensions of Man. Ngai, Sianne, "The Cuteness of the Avant-Garde." Critical Inquiry, Vol. 3 Walter Benjamin, from "One-Way Street," excerpted in Reflections, trans. 4 Kurt Schwitters, from Merz, quoted in Herschel B.Thus, while Jackson Pollock's application of paint to his canvas in drips and dribbles is extremely inventive, the absence of a relationship between his use of materials and a critical interest in the nature and practice of art excludes him from the ranks of the avant-garde. According to Walter Benjamin, Mallarm "was the first [artist and poet] to incorporate the graphic tension of the advertisement in the printed page"3, undermining the sanctity of the poem as a purely artistic, autonomous production while underlining its covert status as cultural commodity.Indeed, Greenberg's faith in Abstract Expressionism as the ultimate vanguard has been dismissed by most art historians, whose critical and historical accounts of avant-gardism emphasize its debt to the experimental art of the nineteenth century, and to those artists who demonstrated a prescient interest in questions of media. Mallarm's interest in multimedia aesthetics is developed in the twentieth century by Dada artists like Kurt Schwitters, whose own vanguard movement, Merz, was committed to the production of a Gesamtkunstwerk ("total work of art") that included multiple genres and forms of media, including painting, sculpture, typography, architecture, and performance art.