The document discusses various aspects of modernism through examples from the early 20th century including art, architecture, film, literature, and design. It explores modernist themes like utopian and dystopian visions of the future, order versus chaos, myth and primitivism, and an emphasis on using materials and forms truthfully according to their intrinsic properties rather than for decoration or imitation. A variety of modernist works are referenced from the 1920s-1960s that exemplified these concepts through new visual styles and technologies or examination of the political and social changes of the time.
Zooming in teaching online with the exhibition in real times_ arthur szyk, ...The Magnes
Magnes Curator Francesco Spagnolo gives a guest lecture Zoom tour of the Magnes exhibition In Real Times. Arthur Szyk, Art & Human Rights for Prof. Isabel Richter's UC Berkeley course Politics and Culture in 20th-Century Germany: Fascism and Propaganda,
Zooming in teaching online with the exhibition in real times_ arthur szyk, ...The Magnes
Magnes Curator Francesco Spagnolo gives a guest lecture Zoom tour of the Magnes exhibition In Real Times. Arthur Szyk, Art & Human Rights for Prof. Isabel Richter's UC Berkeley course Politics and Culture in 20th-Century Germany: Fascism and Propaganda,
Slide presentation by Dr Michael Paraskos of Imperial College London on how artists after the second world war used art to challenge society, including perceptions as to what art was, social injustice, the Vietnam war and the oppression of women.
A Visual History of the Visual Arts - Part 2piero scaruffi
A Visual History of the Visual Arts - Part 2 From Abstract Art to Conceptual Art - A free supplement to "A Brief History of Knowledge" (Amazon ebook) - Downloadable version: http://www.scaruffi.com/art/history/index.html
Modernism in Art: An Intoduction. Picasso's exorcism: Fear of 'Primitives' a...James Clegg
The forth in a series of lecture introducing Modernism. This week focuses upon Picasso's Les Demoiselles d'Avignon, building a long context of Imperial attitudes and 'primitivism'.
Leo Castelli reigned for decades as America’s most influential art dealer. Now Annie Cohen-Solal recounts his incalculably influential and astonishing life in LEO AND HIS CIRCLE, on sale May 18th.
Check out this slideshow for personal photos of Leo and his peers in the art world.
Read more at anniecohensolal.com
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010
LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade.
The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend.
http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html
Slides to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.
Presentation for CAA 2010 Conference in Chicago
http://conference.collegeart.org/2010/
Historians of British Art British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman, independent scholar, Arlington, Virginia
The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the
historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How
do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British
art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships?
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Neomedieval Art after Britain
Neil Mulholland, Edinburgh College of Art
Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a
euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the
Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national,
regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral
colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper
critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval
self-reflectiveness as the basis of a post-British alterity.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
15. It partook . . . of eternity . . . there is a coherence in things, a stability; something, she meant, is immune from change, and shines out (she glanced at the window with its ripple of reflected lights) in the face of the flowing, the fleeting, the spectral, like a ruby; so that again tonight she had the feeling she had had once today, already, of peace, of rest. Of such moments, she thought, the thing is made that endures. Virginia Woolf – To the Lighthouse, (1927) Order / Chaos
16. René Magritte La Reproduction Interdite(1937) Jean Cocteau The Blood of a Poet (1930) Century of the Self
22. Architecture starts when you carefully put two bricks together. There it begins. Mies van derRohe Truth to Materials
23. “When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.” Jackson Pollock Truth to Materials
Anti-historical – people have always been modern. How can we say that some are more ‘modern’ than others? To be modern is simply to be of your own time.
Anti-historical – artists have always been modern. How can we say that some are more ‘modern’ than others? To be modern is simply to be of your own time.
Modern-ism is simply a response to the modern, an art that engages with the now rather than with the past.Modernism is a set of beliefs about modern culture.It is an ideology.Just as there are many different ideas of what constitutes ‘the modern’ – so there is more than one kind of modernism.
A modernist ideology is the culture in which we are emersed.It seems to us to be natural but is in fact the result of hidden forces. – Marx
Freud, like Marx, also argued that the forces shaping the modern world were hidden.Characteristic of modernists to do this – to claim that they source of culture is hidden and that they hold the key to decoding it.
Modernists set out to explain the world and to change it according to their own terms.Modernisms therefore might be different but are related by family resemblence.
Pro-modernity – Bertelli’s sculpture celebrates:Rule of order in a world of chaos – (fascism united industrialists and would-be dictators)Speed – AVANT GARDE – pioneering world visionaries – modernism as an eltist doctrineMachines (machine aesthetic)This work is indication that modernists can be formally and intellectually radical while holding reactionary political beliefs.
Pro-modern world also….ConstructivismUltimately constrained by conditions of the Soviet economy and the wishes of the politburo
Eames worked for the US – made splints for soldiers.This was the basis of much of their domestic work – Cold War sparked lots of research and development - Modernism in this sense grew post war, inter-war modernism in Europe was based on working with bankrupt economies (much like situation we are in now).
Domestic was a battleground for modernists – desire to improve people’s everyday lives.CIAM and Corbusier – ‘Architecture or Revolution’ = design would prevent adopting the extremes of Communism or Fascism.Corbusier’s house celebrates a world of petrol power – based around the turning circle of a car and designed to resemble a ship. {perhaps this is not so modern now that we have fallen out of love with oil}in France the success of Corbusier was ruthlesslesslysatirised in the films of Jacques Tati. {Maybe we’d now think of this film as being of our time in its satire of all things novel).
MODERN LIFE IS RUBBISH But perhaps both Communism and Fascism were not so different – both adopted a fascination with new technology.Thus we might think of modernism as offering a critique of the modern world.Creation of railway time in C19th led to the standarisation of time into units that could be sold =Start of wage labour.Chaplin’s flm Modern Times looks at this phenomenon. Aided by corrupt unions and ganstersFordism (Henry Ford) or Taylorism was becoming commonplace in the USA.Meanwhile the USSR was also implementing a state run version of Fordism using violence and intimidation.So modernism might focus on the way in which modern life alienates people – for example through mechanisinglabour.
MODERN LIFE IS RUBBISH Modern life is controlled and regimented – language is used to centralise and manipulate.Orwell is deeply skeptical about the forces of modern enlightenment.
MODERN LIFE IS RUBBISH Modernists are often disenchanted. See the world as an intert lump with no shape or meaning – need for re-enchantment of the world but modernists don’t always have the cures, just the diagnoses.T.S. Eliot’s poem was written using the voices of several different speakers who talk about of despair, an inability to love and a lack of spirituality. This long poem is made of fragments which seem unconnected, partially as a result of the various speakers.Could be a disenchantment with the vulgar – with the process of democracy.
Use of montage – in both cases this is political. a radical questioning of the process of representation Picasso newspapers report trouble in the Balkans - this would lead to the WW1.Use of montage is way of putting isolated images in context and of intensifying their impact through juxtaposition.Resembles factory line – fast pace, mechanical.Battle between forces of order and forces of chaos (not sure who is on what side!)
Need to escape from this tyranny…..One of the most prominent literary figures of the twentieth century, Woolf is widely admired for her technical innovations in the novel, most notably her development of stream-of-consciousness narrative. In To the Lighthouse (1927) Mixture of autobiographical elements, philosophical questions, and social concerns, To the Lighthouse is generally considered to be Woolf’s greatest fictional achievement.The novel is a modern form in the sense that it allowed the introduction of interiority – drama prevented this (sollioquay is the closest you get). This passage from Chapter 17 “The Window” is very subjective – seen from Mrs Ramsey’s perspective – we get to access her desire for some sense of tranquilty, of order.It’s significant here that we see things from a woman’s perspective – women were gaining access to power. Woolf offers up a different type of subjectivity and an alternative to the rationalist world view that dominates much (male) modernism.Chapter XVII of “The Window” is, in many respects, the heart of the novel. In Mrs. Ramsay’s dinner party, we see the rhythmic movement from chaos to order, from obscurity to clarity of vision, through which the novel progresses. The dinner party begins, to Mrs. Ramsay’s mind, as something of a disaster. Not all of the guests have arrived (Paul and Minta, for instance, have yet to return from the beach with Andrew and Nancy); Charles Tansley makes hostile comments to Lily; Augustus Carmichael offends his host by asking for a second plate of soup. Soon enough, however, as darkness descends outside and the candles are lit, the evening rights itself. Everyone is content, as Mrs. Ramsay intends, and everyone will remember the evening as beautiful and right. This passage describes these rare, priceless moments, which take on a kind of psychological permanence. The guests will remember this evening and will experience, with inexorable nostalgia, peace, and rest. In a world in which struggle and destruction are inevitable, the possibility for such domestic respite provides great comfort.
Another way of reaction to the modern world is to pretend that it’s not really there.Reject the world and attempt to re-discover your self – private sensations that are peculiar to each individual.The interior is as real as any other reality – (Cartesian)This forces many modernists, such as Woolf, to pursue the interior. the alignment with Freud’s discoveries of the primacy of the unconscious In Surrealism this is taken to be …… Deliberately meaningless.This is an extension of the Renaissance idea of the individual (egocentrism).The problem with this approach to the modern world is that it leads to solipsism – to a selfishness.There is a need for some kind of external moral standards – without this there is no basis for society and thus no basis for the self. (man is a political animal)So there is still, in modernism, a quest for these standards:1. Look for the standards in the spiritual – reject the modern world.
Another version of the retreat theory – retreat to a place that is not obviously modern.Franz Marc: „BlauesPpny I“, 1911Johannes Itten in his studio at the Bauhaus in its Expressionist periodFocus on the irrational – world soupVitalism is the guiding principle here – the instinct rules.Since modernists might be said to share a focus on the idea of the unseen – it makes some sense to pursue mythology. All that we know is determined by a hidden principle that can be unravelled only by the modernist. Nothing is as it appears. Mysticism is a route to our supposed ‘real’ existence – one that is subsumed beneath our civilised lives.This connects modernism with magic and shamanism – attempt to fill the vacuum left by the demise of religion leads to the rise of new religions such as Rosicrucianism and Theosophy.
Problem with this is that, as I said to begin with, everyone is modern. You can’t escape it. Your ‘primitive’ is someone else’s cutting edge.Nostalgia of MudThe idea is also predicated on racist ideas such arrested development.e.g. Keith Haring and Grace JonesUntitled (body painting), 1984a huge crown and rubber jewelry designed by David Spada
Finally, another way of dealing with the modern world was to adopt it’s principles of specialisation and scientific rigor.This can be related to untilitarianism (Jeremy Bentham and John Stuart Mill) – to the idea of making value objective and measured.This meant focusing on the structures and materials of cultural production.Start from scratch and build up a new set of universally valid laws governing making, reading, thinking, etc…….It is concerned with a GRAMMAR (later Itten – more concerned with rational approaches following the expressionist era)There is a pattern in events – world is not chaotic.A Platonic idealist world view.
Or for it….
Paul StrandChampioned the realism of the medium to create beauty from everyday life, and to make statements about the nature of photography, rather than about the world; Modernist photography often abstracted reality by eliminating social or spatial context; by using viewpoints that flattened pictorial space, acknowledging the flatness of the picture plane; and by emphasizing shape and tonal rendition in highlights and shadows as much as in the actual subject matter
Radical anti-humanism – abstract and impersonal.Functionalism (less is more). {{{{{Read Quote}}}}}}The objectivity of modernist design and architecture became a straightjacket – people were required to fit design rather than vice-versa. Modernist design as a kind of rationalism gone wrong – echoes of the problems of Fascism and Communism.
Also focus on the surface, on the stuff that paintings are made of. This is mixed with the irrational (to be lost in the painting).Dynamism.
Rhythmus 21 Germany 1921 Hans Richter An early, serious abstract animation composed solely of squares and rectangles that change shape. This was an attempt to apply musical principles to screen images – something that stems back to the aestheticism of the late c19th.Many modernists regarded music to be the highest art form since it was supposedly abstract.Properties of the film are what’s on show here – but there’s also an irrationalist side – rhythm is sensual.So in many cases we see the two sides of modernism:Rational/irrationalOrder/chaosAnti-humanist/Romantic Are combined. The modern world requires these contradictory responses since it’s complex and multifaceted.