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Machine generated contents note: -- Contents -- Acknowledgments -- List of Illustrations -- Introduction: Modernism against Representation -- 1. Painting as Affect Machine -- 2. Freedom and Memory: Bergson's Theory of Hypnotic Agency -- 3. The Influence of Others: Matisse and Personnalite -- 4. Matisse and Mimesis -- Conclusion. From Art to Object: The Case of Paul Valery -- Notes -- Index.
Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism. These novels-such as Wyndham Lewis's The Apes of God, William Gaddis's The Recognitions, and Gilbert Sorrentino's Imaginative Qualities of Actual Things-were under-recognized and received poor reviews at the time of publication, but have increasingly been acknowledged as both groundbreaking and deeply influential. Satirizing Modernism analyzes these novels in order to present an alternative account of literary modernism, which should be viewed neither as a radical break with the past nor an outmoded set of aesthetics overtaken by a later postmodernism. In self-reflexively critiquing their own aesthetics, these works express an unconventional modernism that both revises literary history and continues to be felt today.
Morton Feldman: Friendship and Mourning in the New York Avant-Garde documents the collaborations and conflicts essential to the history of the post-war avant-garde. It offers a study of composer Morton Feldman's associations and friendships with artists like John Cage, Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman, and others. Arguing that friendship and mourning sustained the collective aesthetics of the New York School, Dohoney has written an emotional and intimate revision of New York modernism from the point of view of Feldman's agonistic community.
A first-of-its-kind critical overview of how art leads to moral action in the field of theological ethics One question that remains insufficiently addressed in theological ethics is the question of how art leads to moral action. While many modernist theories consider art to be a morally irrelevant activity, others think that the arts, and the emotions they elicit, are integral to moral formation and justice. Challenging both kinds of theories, Art and Moral Change proposes that art is essential because it is an inevitable source of moral disagreement. Drawing on the work of Jonathan Edwards and many others in theology, philosophy, and literary studies, Art and Moral Change argues that the arts are the cultural mediums through which we can better understand what is morally possible in the midst of difference. The arts, in other words, can serve as snapshots of a particular community's perspectives on the good life, offering glimpses not only of competing moral visions within society but also of the extent to which these contested moral views are reconcilable. Thus, the arts reveal the limits of moral reasoning, confirm the contextuality of moral discernment, and necessitate moral thinking that is dialogical and dialectical. Art and Moral Change provides a first-of-its-kind critical overview of how the field of theological ethics approaches and should utilize aesthetics. The core premise—that paying attention to art encourages us to appreciate the ethical importance of disagreement, difference, and conflict—will foster greater understanding of aesthetics and ethics for students and scholars of theological, social, and virtue ethics.
Through a wide-ranging selection of essays representing a variety of different media, national contexts and critical approaches, this volume provides a broad overview of the idea of work in modernism, considered in its aesthetic, theoretical, historical and political dimensions. Several individual chapters discuss canonical figures, including Richard Strauss, Joseph Conrad, Virginia Woolf, Franz Kafka and Gertrude Stein, but Modernist Work also addresses contexts that are chronologically and geographically foreign to the main stream of modernist studies, such as Swedish proletarian writing, Haitian nationalism and South African inheritors of Dada. Prominent historical themes include the ideas of class, revolution and the changing nature of women's work, while more conceptual chapters explore topics including autonomy, inheritance, intention, failure and intimacy. Modernist Work investigates an important but relatively neglected topic in modernist studies, demonstrating the central relevance of the concept of “work” to a diverse selection of writers and artists and opening up pathways for future research.
The surge of evolutionary and neurological analyses of art and its effects raises questions of how art, culture, and the biological sciences influence one another, and what we gain in applying scientific methods to the interpretation of artwork. In this insightful book, Matthew Rampley addresses these questions by exploring key areas where Darwinism, neuroscience, and art history intersect. Taking a scientific approach to understanding art has led to novel and provocative ideas about its origins, the basis of aesthetic experience, and the nature of research into art and the humanities. Rampley’s inquiry examines models of artistic development, the theories and development of aesthetic response, and ideas about brain processes underlying creative work. He considers the validity of the arguments put forward by advocates of evolutionary and neuroscientific analysis, as well as its value as a way of understanding art and culture. With the goal of bridging the divide between science and culture, Rampley advocates for wider recognition of the human motivations that drive inquiry of all types, and he argues that our engagement with art can never be encapsulated in a single notion of scientific knowledge. Engaging and compelling, The Seductions of Darwin is a rewarding look at the identity and development of art history and its complicated ties to the world of scientific thought.
Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel tells the story of the 1972 premier of Morton Feldman's music for the Rothko Chapel in Houston. Built in 1971 for "people of all faiths or none," the chapel houses 14 monumental paintings by famed abstract expressionist Mark Rothko, who had committed suicide only one year earlier. Upon its opening, visitors' responses to the chapel ranged from spiritual succor to abject tragedy--the latter being closest to Rothko's intentions. However the chapel's founders--art collectors and philanthropists Dominique and John de Menil--opened the space to provide an ecumenically and spiritually affirming environment that spoke to their avant-garde approach to Catholicism. A year after the chapel opened, Morton Feldman's musical work Rothko Chapel proved essential to correcting the unintentionally grave atmosphere of the de Menil's chapel, translating Rothko's existential dread into sacred ecumenism for visitors. Author Ryan Dohoney reconstructs the network of artists, musicians, and patrons who collaborated on the premier of Feldman's music for the space, and documents the ways collaborators struggled over fundamental questions about the emotional efficacy of art and its potential translation into religious feeling. Rather than frame the debate as a conflict of art versus religion, Dohoney argues that the popular claim of modernism's autonomy from religion has been overstated and that the two have been continually intertwined in an agonistic tension that animates many 20th-century artistic collaborations.
A critical look at the competing motivations behind one of modern architecture’s most widely known and misunderstood movements Although “mid-century modern” has evolved into a highly popular and ubiquitous architectural style, this term obscures the varied perspectives and approaches of its original practitioners. In Nothing Permanent, Todd Cronan displaces generalizations with a nuanced intellectual history of architectural innovation in California between 1920 and 1970, uncovering the conflicting intentions that would go on to reshape the future of American domestic life. Focusing on four primary figures—R. M. Schindler, Richard Neutra, and Charles and Ray Eames—Nothing Permanent demonstrates how this prolific era of modern architecture in California, rather than constituting a homogenous movement, was propelled by disparate approaches and aims. Exemplified by the twin pillars of Schindler and Neutra and their respective ideological factions, these two groups of architects represent opposing poles of architectural intentionality, embodying divergent views about the dynamic between interior and exterior, the idea of permanence, and the extent to which architects could exercise control over the inhabitants of their structures. Looking past California modernism’s surface-level idealization in present-day style guides, home decor publications, films, and television shows, Nothing Permanent details the intellectual, aesthetic, and practical debates that lie at the roots of this complex architectural moment. Extracting this period from its diffusion into visual culture, Cronan argues that mid-century architecture in California raised questions about the meaning of architecture and design that remain urgent today.
This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. Accessibly written and analytically sophisticated, Art and Form opens exciting new paths of inquiry into the meaning and lasting importance of formalism and its ties to modernism. It will be invaluable for scholars and enthusiasts of art history and visual culture.
In modern Syria, a contested territory at the intersection of differing regimes of political representation, artists ventured to develop strikingly new kinds of painting to link their images to life forces and agitated energies. Examining the works of artists Kahlil Gibran, Adham Ismail, and Fateh al-Moudarres, Beautiful Agitation explores how painters in Syria activated the mutability of form to rethink relationships of figure to ground, outward appearance to inner presence, and self to world. Drawing on archival materials in Syria and beyond, Anneka Lenssen reveals new trajectories of painterly practice in a twentieth century defined by shifting media technologies, moving populations, and the imposition of violently enforced nation-state borders. The result is a study of Arab modernism that foregrounds rather than occludes efforts to agitate against imposed identities and intersubjective relations.