By Dietrich Scheunemann
This selection of severe essays explores new ways to the examine of avant-garde literature and artwork, movie and structure. It deals a theoretical framework that avoids narrowly outlined notions of the avant-garde. It takes into consideration the range of inventive goals and instructions of many of the avant-garde pursuits and encourages a large and open exploration of the multifaceted and infrequently contradictory nature of the nice number of avant-gardist concepts. person essays be aware of cubist college and dadaist photomontage, on summary portray through participants of the Dutch workforce De Stijl, on verbal chemistry and dadaist poetry and on physique artwork from futurism to surrealism. moreover, the gathering needs to open up the dialogue of the avant-garde to a radical research of neo-avant-garde actions within the Fifties and Sixties. for many years the appreciation of neo-avant-garde artwork and literature, movie and structure suffered from a basic and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra useful and extra unique research of this study box. Contributions contain a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, kinds of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the quantity is predicated on shows and discussions of a three-day learn seminar held on the college of Edinburgh in September 2002. The examine team shaped round the Avant-Garde venture at Edinburgh will proceed with its efforts to intricate a brand new concept of the avant-garde within the coming years. Contents Preface I. Theorising the Avant-Garde Dietrich SCHEUNEMANN: From university to the a number of. at the family tree of Avant-Garde and Neo-Avant-Garde Rhys WILLIAMS: Wilhelm Worringer and the old Avant-Garde Hubert van den BERG: at the Historiographic contrast among historic and Neo-Avant-Garde II. Reviewing the Autonomy of artwork Michael WHITE: Abstraction, Sublation and the Avant-Garde: The Case of De Stijl David HOPKINS: Sameness and distinction: Duchamp’s Editioned Readymades and the Neo-Avant-Garde Ben HIGHMORE: Paint it Black: advert Reinhardt’s Paradoxical Avant-Gardism III. at the Alchemy of the be aware Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bounce: On Language Dissection in Dadaist, Concrete and electronic Poetry Jacob EDMOND: American Language Poetry and the Definition of the Avant-Garde IV. physique Arts Günter BERGHAUS: From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-Garde functionality Olga TAXIDOU: Actor or Puppet: The physique within the Theatres of the Avant-Garde Uta FELTEN: Fragmentation of the physique in Spanish Surrealism V. the forefront in Cinema and structure David MACRAE: the skin of phantasm: Avant-Garde Apperception and Antecedence in Structural/Materialist movie Gérard LEBLANC: What Avant-Garde? Richard WILLIAMS: the boundaries of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: skill and Metaphors of switch: expertise and the Danish Avant-Garde of the Sixties Klaus BEEKMAN: Literature less than the influence of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde checklist of Illustrations Index
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Extra resources for Avant-Garde Neo-Avant-Garde (Avant-Garde Critical Studies 17)
With silk-screening, you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not the glue. That way you get the same image, slightly different each time. It was all so simple — quick and chancy. I was thrilled with it. (Warhol 1980: 22) It is through both the choice of the mass-produced photographic source material and the introduction of the largely mechanical working process of the silk-screening that Warhol extended Duchamp’s concept of the readymade to the realm of painting.
An Romanautoren und ihre Kritiker. Berliner Programm”. In: Döblin, Aufsätze zur Literatur, 15–19. Dulac, Germaine 1978 “The Avant-Garde Cinema”. In: The Avant-Garde Film. A Reader of Theory and Criticism, ed. P. Adams Sitney. New York: New York University Press, 43–48. Enzensberger, Hans Magnus 1980 “Die Aporien der Avantgarde”. In: Enzensberger, Einzelheiten II. Poesie und Politik. Frankfurt: Suhrkamp, 50– 80. ” In: Foster, The Return of the Real. The Avant-Garde at the End of the Century. : MIT Press, 1–32.
In his definition of the photomontage Hausmann hailed its anarchic form as the appropriate reflection of “the chaos of an age of war and revolution”. By describing the composition of photomontage in its early form as an “explosive mixture of different points of view and levels” (cf. H. Richter 1965: 116), Hausmann made it clear that the incorporation of the new photographic material did not signal a return to realist, representational functions of the arts. By combining multiple angles and view points, juxtaposing elements that emphasise the flatness of the surface with others indicating depth, and by using disparate, fragmented snippets for the composition of the picture, the photomontage appropriates and upholds many of the innovations introduced by the avant-garde painters before.