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–1956), is a case in point. He was motivated to produce the work as a tribute to the art and creative persona of Auguste Rodin (1840–1917), whose works had greatly influenced him. It has been pointed out that the piece reveals Takamura’s efforts to emulate the French master’s artistry in handling the
Charlotte Moorman and the Festival of the Avant Garde – New York 1964 Even a quick glance at the programmes Mary Bauermeister planned in her studio reveals the massive mobility among artists at this time, many of whom seem to have been constantly on tour or living a nomadic life with longer residencies in
no longer be committed to the intentions of the serial prototype. Similarly, a secondary or even tertiary meaning could have arisen during the ‘life’ of single replicas: e.g., broken statuettes were intentionally deposited inside Late Period house walls (cf. Boutantin 2015, 155f.); 58 but previously
no longer be committed to the intentions of the serial prototype. Similarly, a secondary or even tertiary meaning could have arisen during the ‘life’ of single replicas: e.g., broken statuettes were intentionally deposited inside Late Period house walls (cf. Boutantin 2015, 155f.); 58 but previously
, the movement invented by Malevich in connection with a new theory that “expresses modern life in new sculptural forms. This theory provides a fully real, almost material, medium to grasp the whole of contemporary art” (Kondratiev qtd. in Vakar and Michienko 2004, 2:402) in the 1910s and 1920s
, 165). According to Starr, this “Spanish myth […] was incipiently pastoral; it celebrated a simple, feudal society. Yet as a promotional device, the Spanish myth fostered the opposite: mass society and industrialization” (1985, 85). The style of living most widely portrayed in the California Dream
Taiwanese merchant, Guo Sihu. The mar- riage between Fongyin and Cizong appears to be a good match in terms of family backgrounds, but soon after they get married, Guo Sihu dies unex- pectedly in a car accident, and Fongyin’s life falls into miserableness. Her mother-in-law, who has been living together
), according to contemporary critical experiments in vitalist posthumanism. Usually described as “the lowest threshold of the living,” plants are no longer to be considered to “exist purely for the use of other beings,” as Jeffrey Nealon demands, and humans catch glimpses of the “alien quality of plant life
depart girl named Myŏng-ja living as a single person in 1930s Seoul. Of her assumed twenty-yen salary, fi ve yen is usu- ally left after she subtracts all her life expenses including housing, food, electricity and other utili- ties. Myŏng-ja uses that last fi ve yen to purchase accessories to adorn
-theological ideology of the empire. 59 In these portraits, the basileus was himself the object of ritual veneration; he embodied the theatre of court ceremonial. 60 All evidence suggests that these images performed the same functions as their living model. They convey a sense of realism, like what we find in the