Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm最新文献

Open Aesthetics 开放的美学

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.h

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Realities Around and Underneath the Sign 星座周围和下面的现实

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.g

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Part III: Transformation/Transmedia/Transfusion 第三部分:转型/跨媒体/输血

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.3

{"title":"Part III: Transformation/Transmedia/Transfusion","authors":"","doi":"10.16993/bar.3","DOIUrl":"https://doi.org/10.16993/bar.3","url":null,"abstract":"Expressionism is provided by Clement Greenberg’s “After Abstract Expresionism” (1962), The Collected Essays and Criticism,Expresionism” (1962), The Collected Essays and Criticism, vol. 4: Modernism with a Vengeance, 1957–1969, (ed. John O’Brian), Chicago/London 1993 (1986), pp. 126–127, where Greenberg describes a trend in American and European nonfigurative art that he 314 Modernism as Institution calls homeless representations, lingering figurative and illusory elements, that is, with Jasper John’s art being described as the swansong of this trend: as a beautiful but doomed finale. The term pre-pop was introduced in a different context in which Pop Art was celebrated and classified as a new contemporary idiom, with Rauschenberg and Johns being considered its forerunners because, while they had obvious links with Pop Art, they could not be included within it. Segregating classifications and distinctions of this kind were already being made in American art criticism in 1962–1963, when Pop Art was rapidly becoming a phenomenon that was impossible to ignore; the term pre-pop, however, was more usually employed with the aim of establishing a diachronic context. Initially, this was in the exhibitions and survey works that dealt with Pop Art as a historical phenomenon. One example is Lucy Lippard, who uses the term to distinguish Pop Art from previous attempts to reproduce popular cultural references in art (see Lippard, p. 75); another would be its use in order both to establish a historical connection with an older form of modernism and to isolate Pop Art as a distinct new stylistic and historical category (e.g., Livingstone, 1990, pp. 9–11), in which artists such as Johns, Rauschenberg and Larry Rivers are accorded a kind of transitional position between the traditional and the new. 41. The term Pop Art is usually said to have been introduced by Lawrence Alloway, either in 1954 (without a source being indicated) or in 1958 in the article “The Arts and the Mass Media” (Architectural Design & Construction, February 1958, pp. 84–85.), but it was not, in fact, used here. The term was, however, evidently current in the circles of the Independent Group in London at the end of the 1950s and can be found, for example, in a subsequently frequently published letter from Richard Hamilton to Peter and Alison Smithson of 1957 (see Madoff, pp. 5–6). The term took on a renewed, if slightly altered, topicality in the New York art world at the end of 1962, when a new international phenomenon was celebrated in the exhibition New Realists at the Sidney Janis Gallery, New York (1/11–1/12 1962), which showed work by artists from England, France, Italy, the United States and Sweden, who were grouped together by John Ashbury in his foreword on the basis of their shared interest in everyday objects. The term Pop Art had not yet become Endnotes for Part III 315 established, and the initial conceptual confusion felt by the New York art world is clearly evident in the articl","PeriodicalId":224941,"journal":{"name":"Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128440854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Struggle for Interpretive Privilege 为解释特权而斗争

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.d

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Conflicting Truths 矛盾的真理

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.c

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The Aesthetic and Ideological Criteria of Normalisation 规范化的审美和意识形态标准

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.e

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The Modernity of Modernism 现代主义的现代性

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.b

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Part II: The Normalisation of the Avant-Garde 第二部分:先锋艺术的正常化

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.2

R. Pippin

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The Modernist Metanarrative 现代主义元叙事

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.f

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Part I: The Regime of Authenticity 第一部分:真实性的制度

Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm Pub Date : 2018-09-20 DOI: 10.16993/bar.1

{"title":"Part I: The Regime of Authenticity","authors":"","doi":"10.16993/bar.1","DOIUrl":"https://doi.org/10.16993/bar.1","url":null,"abstract":"ion. Even though different sciences could provide a diversity of viewpoints in the analysis of modernity, in many cases this involved the taking for granted of certain categories and premises in the transfer between different disciplines. In order to focus on the ambivalences of modernity and modernism in this context, fault lines have to be made visible that, in many ways, run entirely counter to the values and identities that are reproduced within the modern. It is, therefore, of crucial importance that any such interpretation should encompass a description of not only what modernity means, but also of how and in which contexts its normative values have been produced. True and False Modernity The analogy drawn by Marshall Berman between modernity and modernism may appear both more specific and more normative than an unconsidered view of the relationship as being obvious or unproblematic (modernism as a conscious form of reflection or a systematic evaluation of modernity). And yet both these viewpoints are actually embedded within each other to the extent that the explicitly formulated notion is simply a codification of something that would otherwise be taken for granted. However, when manifestos, specialist studies, monographs, essays, surveys and other texts are read anew with this relationship in mind, a particular pattern emerges that makes the analogy manifest, albeit in various ways and with dissimilar aims. And if it is the origins of the analogy that are being sought, they can also be discovered in some of the manifestos, programmatic writings and statements of the avant-garde. The most celebrated are, of course, the Futurist paeans to the speed, harshness and mutability of the modern age. Or as the ‘Manifesto dei pittori futuristi’ of 1910, devised by Umberto Boccioni and signed by Carlo Carrà, Luigi Russolo, Giacomo Balla and Giovanni Severini, has it, Comrades! We declare that the triumphant progress of science has brought about changes in humanity so profound as to dig an abyss between the docile slaves of the past and us who are confident in The Modernity of Modernism 17 the shining splendor of the future. . . . The only living art is that which finds its distinctive features within the environment that surrounds it. Just as our forbears took the subject of art from the religious atmosphere that enveloped them, so we must draw inspiration from the tangible miracles of contemporary life, from the iron network of speed which winds around the earth. . . . Waiting to contribute to the necessary renovation of all artistic expression, we resolutely declare war on all those artists and institutions that, even when disguised with a false costume of modernity, remain trapped in tradition, academicism, and above all a repugnant mental laziness.21 Even though all these ideas may be familiar from the modernist canon—the notion that there is an absolute gulf separating the present and the past—the phrase referring to a false modernity is notewor","PeriodicalId":224941,"journal":{"name":"Modernism as Institution: On the Establishment of an Aesthetic and Historiographic Paradigm","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114202882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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