Theory of the Avant-garde
| Author | : Peter Bürger |
| Publisher | : Manchester University Press |
| Total Pages | : 196 |
| Release | : 1984 |
| Genre | : Art |
| ISBN | : 9780719014536 |
Peter Clenott
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Theorizing the Avant-Garde
| Author | : Richard John Murphy |
| Publisher | : Cambridge University Press |
| Total Pages | : 340 |
| Release | : 1999-04-22 |
| Genre | : Literary Criticism |
| ISBN | : 9780521648691 |
In Modernism, Expressionism and Theories of the Avant Garde, Richard Murphy mobilises theories of the postmodern to challenge our understanding of the avant-garde. He assesses the importance of the avant-garde for contemporary culture and for the debates among theorists of postmodernism such as Jameson, Eagleton, Lyotard and Habermas. Murphy reconsiders the classic formulation of the avant-garde in Lukacs and Bloch, especially their discussion of aesthetic autonomy, and investigates the relationship between art and politics via a discussion of Marcuse, Adorno and Benjamin. Combining close textual readings of a wide range of films as well as works of literature, it draws on a rich array of critical theories, such as those of Bakhtin, Todorov, MacCabe, Belsey and Raymond Williams. This interdisciplinary project will appeal to all those interested in modernist and avant-garde movements of the early twentieth century, and provides a critical rethinking of the present-day controversy regarding postmodernity.
The Theory of the Avant-garde
| Author | : Renato Poggioli |
| Publisher | : Harvard University Press |
| Total Pages | : 262 |
| Release | : 1968 |
| Genre | : Art |
| ISBN | : 9780674882164 |
Convinced that all aspects of modern culture have been affected by avant-garde art, Renato Poggioli explores the relationship between the avant-garde and civilization. Historical parallels and modern examples from all the arts are used to show how the avant-garde is both symptom and cause of many major extra-aesthetic trends of our time, and that the contemporary avant-garde is the sole and authentic one.
Hollywood Flatlands
| Author | : Esther Leslie |
| Publisher | : Verso |
| Total Pages | : 372 |
| Release | : 2004-06-17 |
| Genre | : Art |
| ISBN | : 9781844675043 |
Brings to light the links between animation, avant-garde art and modernist criticism.
The Theory-death of the Avant-garde
| Author | : Paul Mann |
| Publisher | : |
| Total Pages | : 168 |
| Release | : 1991 |
| Genre | : Architecture |
| ISBN | : |
Making Theory/Constructing Art
| Author | : Daniel Alan Herwitz |
| Publisher | : University of Chicago Press |
| Total Pages | : 374 |
| Release | : 1996-05-15 |
| Genre | : Art |
| ISBN | : 9780226328928 |
Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, and Andy Warhol.
The Return of the Real
| Author | : Hal Foster |
| Publisher | : MIT Press |
| Total Pages | : 332 |
| Release | : 1996-09-25 |
| Genre | : Design |
| ISBN | : 9780262561075 |
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation—and what it portends for future practices of art and theory, culture and politics.
The Ghosts of the Avant-Garde(s)
| Author | : James M. Harding |
| Publisher | : University of Michigan Press |
| Total Pages | : 247 |
| Release | : 2015-10-22 |
| Genre | : Art |
| ISBN | : 0472036106 |
Pronouncements such as “the avant-garde is dead,” argues James M. Harding, have suggested a unified history or theory of the avant-garde. His book examines the diversity and plurality of avant-garde gestures and expressions to suggest “avant-garde pluralities” and how an appreciation of these pluralities enables a more dynamic and increasingly global understanding of vanguardism in the performing arts. In pursuing this goal, the book not only surveys a wide variety of canonical and noncanonical examples of avant-garde performance, but also develops a range of theoretical paradigms that defend the haunting cultural and political significance of avant-garde expressions beyond what critics have presumed to be the death of the avant-garde. The Ghosts of the Avant-Garde(s) offers a strikingly new perspective not only on key controversies and debates within avant-garde studies but also on contemporary forms of avant-garde expression within a global political economy.
Wonderlands of the Avant-Garde
| Author | : Julia Vaingurt |
| Publisher | : Northwestern University Press |
| Total Pages | : 322 |
| Release | : 2013-05-31 |
| Genre | : Art |
| ISBN | : 0810166526 |
In postrevolutionary Russia, as the Soviet government was initiating a program of rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. In spite of their professed utilitarianism, however, most avant-gardists created works that can hardly be regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ investment of technology with aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.
