By Dietrich Scheunemann
This number of severe essays explores new ways to the learn 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 under consideration the range of inventive goals and instructions of some of the avant-garde hobbies and encourages a large and open exploration of the multifaceted and sometimes contradictory nature of the good number of avant-gardist options. person essays pay attention to cubist university and dadaist photomontage, on summary portray through participants of the Dutch staff De Stijl, on verbal chemistry and dadaist poetry and on physique paintings from futurism to surrealism. furthermore, the gathering needs to open up the dialogue of the avant-garde to an intensive research of neo-avant-garde actions within the Fifties and Nineteen Sixties. for many years the appreciation of neo-avant-garde paintings and literature, movie and structure suffered from a common and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra powerfuble and extra certain research of this examine box. Contributions comprise a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, varieties of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the amount relies on shows and discussions of a three-day examine seminar held on the college of Edinburgh in September 2002. The study workforce shaped round the Avant-Garde venture at Edinburgh will proceed with its efforts to complicated a brand new idea 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 old and Neo-Avant-Garde II. Reviewing the Autonomy of paintings 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 observe Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bop: 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 leading edge 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 bounds of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: potential and Metaphors of switch: expertise and the Danish Avant-Garde of the Nineteen Sixties Klaus BEEKMAN: Literature below the effect of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde checklist of Illustrations Index
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In a remarkable statement illuminating in respect of both the understanding of his own work as well as the interpretation of the image repetition in Warhol’s pictures he characterises pop art as a “return to ‘conceptual’ painting”. “If you take a Campbell’s Soup Can and repeat it 50 times”, he explained, then “you are not interested in the retinal image. What interests you is the concept that wants to put 50 Campbell’s Soup Cans on a canvas” (cf. Beyeler 2000: 8). From Collage to the Multiple 39 But what is the concept behind putting 50 Campbell’s Soup cans or 112 green Coca-Cola bottles on a canvas?
This characterisation “fits” well into the picture developed here of the avant-garde as a whole. And correspondences between avant-garde painting and avant-garde film are not at all confined to the “multiplicity of viewpoints” on which Standish Lawder focuses in his comparison between avant-garde film and cubist painting. Other characteristics include the prismatic fracturing of images and the floating interpenetration of moving objects in Léger’s Ballet mécanique, the interplay of planes and the spatial ambiguities in Richter’s Rhythmus films, the optical experiments with light and shadow in Man Ray’s Return to Reason and the technical manipulation of visual perception in Duchamp’s Anémic Cinèma.
4, 309–336. In: The Sitney, P. Adams 1978 “Introduction”. In: The Avant-Garde Film. A Reader of Theory and Criticism, ed. P. A. Sitney. New York: New York University Press, vii–xiv. Tretiakov, Sergei 1977 “John Heartfield montiert”. In: Montage: John Heartfield, ed. Eckhard Siepmann. Berlin: Elefanten Press, 168–175. Tzara, Tristan 1916 “Note pour les Bourgeois”. In: Cabaret Voltaire, ed. Hugo Ball. Zurich, 6–7. Warhol, Andy, and Pat Hackett 1980 POPism. The Warhol ‘60s. New York: Harcourt Brace Jovanovich.
Avant-Garde Neo-Avant-Garde (Avant-Garde Critical Studies 17) by Dietrich Scheunemann