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Sus herencias de la modernidad cinematográfica
Series:
Foro Hispánico, Volume: 65
Este libro busca contribuir al impulso del estudio del actual cine poético hispanoamericano e íbero-peninsular, analizando aquellos modos contra-narrativos que enfatizan las particularidades formales del medio audiovisual, a la vez que rebajan el desarrollo del contenido --desplazando la acción fuera de plano. El presente libro parte asimismo de la premisa que la modernidad cinematográfica constituye el marco de referencia teórico-artístico al que muchos directores de cine poético recurren para elaborar sus propuestas fílmicas. Por ello, se propone también analizar las estrategias de composición vinculadas a la tradición cinematográfica de la modernidad que han sido críticamente reexaminadas en las películas producidas en el ámbito hispanoamericano e íbero-peninsular durante las primeras dos décadas del siglo XXI.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
Sus herencias de la modernidad cinematográfica
Series:
Foro Hispánico, Volume: 65
Este libro busca contribuir al impulso del estudio del actual cine poético hispanoamericano e íbero-peninsular, analizando aquellos modos contra-narrativos que enfatizan las particularidades formales del medio audiovisual, a la vez que rebajan el desarrollo del contenido --desplazando la acción fuera de plano. El presente libro parte asimismo de la premisa que la modernidad cinematográfica constituye el marco de referencia teórico-artístico al que muchos directores de cine poético recurren para elaborar sus propuestas fílmicas. Por ello, se propone también analizar las estrategias de composición vinculadas a la tradición cinematográfica de la modernidad que han sido críticamente reexaminadas en las películas producidas en el ámbito hispanoamericano e íbero-peninsular durante las primeras dos décadas del siglo XXI.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
First English Translation, with Introduction and Commentary
Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander’s crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author’s distinctive views on the complementary forms and functions of history and landscape.
First English Translation, with Introduction and Commentary
Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander’s crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author’s distinctive views on the complementary forms and functions of history and landscape.
Studies of Mimesis and Materials in Nature, Art and Science
Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies ‘from life’. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, raising questions about skills, techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds.
Studies of Mimesis and Materials in Nature, Art and Science
Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies ‘from life’. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, raising questions about skills, techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds.
Methodological Approaches to the Relationship Between Religious Art and Literature (1400-1700)
Intermediality, figurability, iconotext, visual exegesis… There is no shortage of new ways to approach the relationship between text and image. The exploration of these relationships has been greatly renewed in recent decades, benefiting from the contributions of anthropology, psychoanalysis and semiotics, alongside more traditional fields such as literature, art history and cultural history. Focusing on the religious field between 1400 and 1700, the essays gathered in this volume intend to contribute to the exploration of these relationships by placing a significant emphasis on the methodological dimension of their case studies. The editors have deliberately adopted the broadest possible position by considering the relations between the visual and the verbal, in order to emphasize the phenomenological point of view from which the objects studied are examined.
Contributors include Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.
Contributors include Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.
Methodological Approaches to the Relationship Between Religious Art and Literature (1400-1700)
Intermediality, figurability, iconotext, visual exegesis… There is no shortage of new ways to approach the relationship between text and image. The exploration of these relationships has been greatly renewed in recent decades, benefiting from the contributions of anthropology, psychoanalysis and semiotics, alongside more traditional fields such as literature, art history and cultural history. Focusing on the religious field between 1400 and 1700, the essays gathered in this volume intend to contribute to the exploration of these relationships by placing a significant emphasis on the methodological dimension of their case studies. The editors have deliberately adopted the broadest possible position by considering the relations between the visual and the verbal, in order to emphasize the phenomenological point of view from which the objects studied are examined.
Contributors include Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.
Contributors include Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.
How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács’s theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the damaged edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism.
How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács’s theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the damaged edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism.
This book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093).
The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to
Contributors are: George Brooks,Maile S. Hutterer, Ellen Shortell, Carl F. Barnes, Jr., William Sayers, Erik Gustafson, John James, Nancy Wu, Kathleen Wilson Ruffo, Amy Gillette, Steven A. Walton, Maggie M. Williams, Mickey Abel, Sarah Thompson, Michael T. Davis, Richard Alfred Sundt, Robert Bork and Alice Isabella Sullivan.
The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to
Contributors are: George Brooks,Maile S. Hutterer, Ellen Shortell, Carl F. Barnes, Jr., William Sayers, Erik Gustafson, John James, Nancy Wu, Kathleen Wilson Ruffo, Amy Gillette, Steven A. Walton, Maggie M. Williams, Mickey Abel, Sarah Thompson, Michael T. Davis, Richard Alfred Sundt, Robert Bork and Alice Isabella Sullivan.
This book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093).
The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to
Contributors are: George Brooks,Maile S. Hutterer, Ellen Shortell, Carl F. Barnes, Jr., William Sayers, Erik Gustafson, John James, Nancy Wu, Kathleen Wilson Ruffo, Amy Gillette, Steven A. Walton, Maggie M. Williams, Mickey Abel, Sarah Thompson, Michael T. Davis, Richard Alfred Sundt, Robert Bork and Alice Isabella Sullivan.
The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to
Contributors are: George Brooks,Maile S. Hutterer, Ellen Shortell, Carl F. Barnes, Jr., William Sayers, Erik Gustafson, John James, Nancy Wu, Kathleen Wilson Ruffo, Amy Gillette, Steven A. Walton, Maggie M. Williams, Mickey Abel, Sarah Thompson, Michael T. Davis, Richard Alfred Sundt, Robert Bork and Alice Isabella Sullivan.
Zur rezeptionsästhetischen Temporalität in den Werken von On Kawara, Roman Opałka, Bernd und Hilla Becher, Richard Prince, Cindy Sherman und Sophie Calle unter Berücksichtigung psychodynamischer Perspektiven
Die Zeitlichkeit der Werk-Betrachter-Beziehung wurde von der kunstwissenschaftlichen Rezeptionsästhetik erstaunlich lange nur wenig reflektiert. Dabei scheint unbestritten, dass sich visuelle Gestalten, Interpretationen, Emotionen und mentale Ergänzungen nur in einer zeitlich ausgedehnten Wahrnehmung sinnlich erfahrbarer Bildeigenschaften entfalten können. Die empirische Psychologie und die Psychoanalyse besitzen dagegen eine lange Tradition der Erforschung temporaler Aspekte von Wahrnehmung und Beziehungserleben, jedoch wurden ihre Erkenntnisse bisher kaum für die kunstwissenschaftliche Forschung nutzbar gemacht. „Verwicklungen des Betrachters“ erweitert die rezeptionsästhetische Methode um psychodynamische Perspektiven, die eine trennscharfe Differenzierung verschiedener Modi der zeitgebundenen ästhetischen Erfahrung ermöglichen. Neubetrachtungen bekannter Werke der 1960er bis 1980er Jahre veranschaulichen die Plausibilität und Produktivität dieser transdisziplinären Betrachtungsweise.
Zur rezeptionsästhetischen Temporalität in den Werken von On Kawara, Roman Opałka, Bernd und Hilla Becher, Richard Prince, Cindy Sherman und Sophie Calle unter Berücksichtigung psychodynamischer Perspektiven
Die Zeitlichkeit der Werk-Betrachter-Beziehung wurde von der kunstwissenschaftlichen Rezeptionsästhetik erstaunlich lange nur wenig reflektiert. Dabei scheint unbestritten, dass sich visuelle Gestalten, Interpretationen, Emotionen und mentale Ergänzungen nur in einer zeitlich ausgedehnten Wahrnehmung sinnlich erfahrbarer Bildeigenschaften entfalten können. Die empirische Psychologie und die Psychoanalyse besitzen dagegen eine lange Tradition der Erforschung temporaler Aspekte von Wahrnehmung und Beziehungserleben, jedoch wurden ihre Erkenntnisse bisher kaum für die kunstwissenschaftliche Forschung nutzbar gemacht. „Verwicklungen des Betrachters“ erweitert die rezeptionsästhetische Methode um psychodynamische Perspektiven, die eine trennscharfe Differenzierung verschiedener Modi der zeitgebundenen ästhetischen Erfahrung ermöglichen. Neubetrachtungen bekannter Werke der 1960er bis 1980er Jahre veranschaulichen die Plausibilität und Produktivität dieser transdisziplinären Betrachtungsweise.
Usable Pasts addresses projects dating to two periods in the United States that saw increased financial support from the state for socially engaged culture. By analysing artworks dating to the 1990s by Suzanne Lacy, Rick Lowe and Martha Rosler in relation to experimental theatre, modern dance, and photography produced within the leftist Cultural Front of the 1930s, this book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.
Usable Pasts addresses projects dating to two periods in the United States that saw increased financial support from the state for socially engaged culture. By analysing artworks dating to the 1990s by Suzanne Lacy, Rick Lowe and Martha Rosler in relation to experimental theatre, modern dance, and photography produced within the leftist Cultural Front of the 1930s, this book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.
Painting, Typography, Photomontage
The book is a comparative study of the constructivist avant-garde artists in Central Europe, the Hungarian MA group in exile in Vienna, the Blok group in Warsaw, and the Czech Devětsil association of artists in Prague. The author examines the similarities and significant differences among them. Contrary to often-repeated theses, the study reveals that the artists unremittingly sought new formulations for an initial set of formal and theoretical issues. It also demonstrates that they persistently believed that their works of art prefigured a future socialist society. The long-awaited socialist states that came into being after World War II betrayed the artists.
Painting, Typography, Photomontage
The book is a comparative study of the constructivist avant-garde artists in Central Europe, the Hungarian MA group in exile in Vienna, the Blok group in Warsaw, and the Czech Devětsil association of artists in Prague. The author examines the similarities and significant differences among them. Contrary to often-repeated theses, the study reveals that the artists unremittingly sought new formulations for an initial set of formal and theoretical issues. It also demonstrates that they persistently believed that their works of art prefigured a future socialist society. The long-awaited socialist states that came into being after World War II betrayed the artists.