Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art ...(MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.
Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in ...contemporary visual production. By bracketing MoMA's early history from its later reputation, this book explores the ways the Museum acted as a laboratory to set an ambitious agenda for the exhibition of a multidisciplinary idea of modern art. Between its founding in 1929 and its 20th anniversary in 1949, MoMA created the first museum departments of architecture and design, film, and photography in the country, marshaled modern art as a political tool, and brought consumer culture into a versatile yet institutional context. Encompassing 14 essays that investigate the diversity of modern art, this volume demonstrates how MoMA's programming shaped a version of modern art that was not elitist but fundamentally intertwined with all levels of cultural production.
The essay examines the critical discourse on music that was established in Brazil and the relationship of the intellectuality with this art, demonstrating that parameters of national-modernism were ...always at the base of both. In a historical sequence, it starts with the Week of Modern Art (1922) and follows its evolutions, highlighting and interpreting, among the various episodes and conceptual revisionisms over the years, the oscillations of critical interest in relation to classical and popular musical manifestations. The hypothesis is that, in the contemporary scenario, the propulsive force of the national-modernist argument has ended, since it is no longer capable of articulating the questions posed by today's musical productions. Afinada com as correntes que, avessas a hierarquias, propugnam uma leitura da realidade brasileira e latinoamericana nao dependente do que é produzido nos países centrais, a historiografia nacional vem tratando de reconceituar o modernismo, para que ele deixe de ser "identificado como momentoruptura na vida sociocultural brasileira" e emerja como processo histórico em que se combinam "distintas tradiçöes, espaços, temporalidades, atores e configuraçöes" (VELOSO, 2010 - e-book).
The achievements of the art that we know today are questioned in motives that differ from what art knew before, including dramatic artistic transformations, which he called modern art.In view of the ...enormity of such a topic, its ramifications and its complexity, it was necessary to confine its subject to the origin of the motives of the transformations of its first pioneers, and then to stand on what resulted from that of the data of vision in composition and drawing exclusively, and through exploration in that, we got to know the vitality of change from the art of its time.And by examining the ruling contemporary philosophical concepts and their new standards and their epistemological role in contemporary life, since they include new artistic and aesthetic values, it was more useful to take them in this research to understand the consistency between thought and art in the current era, and from that the motives of modernization are an approach at the hands of the first pioneers With their homeland of innovative methods in the contemporary artistic experience
Machine Art, 1934 Marshall, Jennifer Jane
2019, 2012, 2015-06-01
eBook
In 1934, New York's Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and ...products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this extraordinarily popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum's director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey's insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
The volume comprises a selection of papers presented at the 5th Postgraduate International Conference organized by the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of ...Venice (Venice, 4-6 October 2023): A Driving Force. On the Rhetoric of Images and Power. In the introduction to his well-known The Power of Images (1989), David Freedberg claims not only that images hold power over us, but they are also, inevitably, related to ‘power’ itself. Art is therefore a powerful and non-neutral tool. Its forms and expressions influence and manipulate the realm of the real. Throughout human history, the artist’s creative power gave form, substance, and meaning to otherwise inert matter. This process turned the artist into a demiurge. Furthermore, once images are given their final form, they circulate and live a life of their own. The 5th Postgraduate International Conference was aimed at investigating the rhetorical nature of the intersection between image and power. In 1979 Yuri Lotman claimed that “rhetoric” is the displacement of the structural principles of a given semiotic sphere into another semiotic sphere. The Tartu semiologist’s approach implies that the “correlation with different semiotic systems gives rise to a rhetorical situation in which a powerful source of elaboration of new meanings is contained”. In exploring these meanings from a multidisciplinary perspective, this volume investigates two main themes: the power of the image, as an autonomous device, endowed with a pervasive and persuasive character; the image as a form for representing power which addresses questions concerning the sense of authority, and its negation, namely a sense of dissidence and counter-narrations.
This paper empirically analyzes the integration development of the modern art design industry and the environmental design industry by constructing a vector autoregressive model (VAR) using the ...National Bureau of Statistics data on modern art design and the environmental design industry. The exploration of this paper focuses on testing and analyzing the VAR model using the four aspects of smoothness test, cointegration test, Granger causality test, impulse response, and variance decomposition, and analyzing it with Eviews 10.0 software. After the study as well as calculations, it was found that OAD and OED rejected the original hypothesis at 5% significance level after second-order differencing, and the optimal lag order was 1. 48% of the fluctuations in OED were caused by OAD, and 52% were caused by itself. In period 1, 100% of the output value of OAD is caused by itself and 0% by OED. However, from period 2, the value of the contribution of OAD to itself decreases to 59.04% and then stays around 56%. P-value corresponding to OAD and OED is greater than 0.1. P-value corresponding to OED for OAD is 0.0011, which is less than 0.1. It can be concluded that the output value of environmental design is a factor in the output value of modern art and design.
