Here, in the first comprehensive survey of her work by an American museum, authors Peter Boswell, Maria Makela, and Carolyn Lanchner survey the full scope of Hoch's half-century of experimentation in photomontage - from her politically charged early works and intimate psychological portraits of the Weimar era to her later forays into surrealism and abstraction.
In 1916 a meeting of artists, writers, émigrés and opposition figures took place in the Cabaret Voltaire in Zurich. Under the shadow of the First World War, this was the starting point for the dissemination of the artistic and literary style known as Dadaism.
This book explores the history of scrapbook-making, its origins, uses, changing forms and purposes as well as the human agents behind the books themselves. Scrapbooks bring pleasure in both the making and consuming - and are one of the most enduring yet simultaneously changing cultural forms of the last two centuries. Despite the popularity of scrapbooks, no one has placed them within historical traditions until now. This volume considers the makers, their artefacts, And The viewers within the context of American culture. The volume's contributors do not show the reader how to make scrapbooks or improve techniques but instead explore the curious history of what others have done in the past and why these splendid examples of material and visual culture have such a significant place in many households.
Proceedings of a Symposium Held by the Department of American Culture and Literature Halic University, Istanbul, 19-21 April 2006
Author: Koray Melikoglu
Publisher: ibidem-Verlag / ibidem Press
Category: Language Arts & Disciplines
These proceedings of the international 2006 symposium ‘The Theory and Practice of Life Writing: Auto/biography, Memoir and Travel Writing in Post/modern Literature’ at Haliç University, Istanbul, include the majority of contributions to this event, some of them heavily revised for publication. A first group, treatments of more comprehensive and/or theoretical aspects of life and travel writing, concerns genre history (Nazan Aksoy; Manfred Pfister), typology (Manfred Pfister; Sidonie Smith and Julia Watson), issues of narration (Gerald P. Mulderig; Rana Tekcan), the recent phenomenon of blogging (Leman Giresunlu), and therapeutic narrative (Wendy Ryden). A second group—whose concern often heavily overlaps with the first in that it also pursues theoretical goals—concentrates on individual authors and artists: Sabâ Altınsay and Dido Sotiriou (Banu Özel), Samuel Beckett (Oya Berk), the sculptor Alexander Calder (Barbara B. Zabel), G. Thomas Couser and his filial memoir, Moris Farhi (Bronwyn Mills), Jean Genet (Clare Brandabur), Henry James (Laurence Raw), Orhan Pamuk (Dilek Doltaş; Ayşe F. Ece), Sylvia Plath (Richard J. Larschan), Edouard Roditi (Clifford Endres), Sara Rosenberg (Claire Emilie Martin), the dancer Mrinalini Sarabhai (Leena Chandorkar), Alev Tekinay (Özlem Öğüt), Uwe Timm (Jutta Birmele), and female British and American Oriental travellers (Tea Jansson).
Although much has been written lately on the links between painting and writing, little or no attention has been paid to those moments in literature when the narrative stops to allow for the description of those objects we associate with still life. Rosemary Lloyd's book shows how fascinating this overlooked area is; how rich in suggestions of class, race, and gender; how much it indicates about human pleasures and about the experience of space and time. Lloyd focuses on the last two centuries, particularly at points marked by the irruption of images of contingency and rapid change into the fields of art: for example, the year of the Terror in French history; the decade in which Haussman's politically driven transformation of Paris led Baudelaire to write his great modernist poem "Le Cygne"; and "on or about December 1910," the date to which Virginia Woolf attributes a revolution in the definition of literary character. Lloyd's central concern lies with the ways in which the still life, written or painted, both evokes and attempts to deal with the sense of contingency. While she makes frequent reference to paintings, she focuses above all on written still lifes, particularly those moments when novels pause to address the subject matter of still life--a bowl of fruit, a hat rack, a desk cluttered with pens and papers--in ways that invite contemplation of other and broader cultural domains. She draws on literary and art works from Australia, England, France, Germany, Ireland, Italy, and the United States.
This book provides an overview of twentieth-century German art, focusing on some of the period's key works. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas.--[book jacket].
The central aim of this interdisciplinary book is to make visible the intentionality behind the 'forgetting' of European women's contributions during the period between the two world wars in the context of politics, culture and society. It also seeks to record and analyse women's agency in the construction and reconstruction of Europe and its nation states after the First World War, and thus to articulate ways in which the writing of women's history necessarily entails the rewriting of everyone's history.
She takes the obstacles these women faced for granted - just as they themselves did - and reveals, through their own lives and words, how they found training and earned a living, despite being treated as intruders in the world of art. Their determination to succeed, and the distinctive space they forged (and continue to forge) for themselves and for future generations, is what makes their adventures in art so interesting.".
Zurich, Berlin, Hannover, Cologne, New York, Paris
Author: Leah Dickerman
Publisher: Distributed Art Pub Incorporated
Dada includes many of the key figures in the history of modernism, such as Hans Arp, Marcel Duchamp, Max Ernst, Hannah Hoch, John Heartfield, Francis Picabla, Kurt Schwitters, and Sophie Taeuber, and introduces artists who are less well known. This book explores the variety of art-making practices that emerged between 1916 and 1924 in the movement's primary centers: Zurich, Berlin, Hannover, Cologne, New York, and Paris. Six city essays by scholars of the movement; an illustrated chronology; more than forty artists' biographies; period photographs; and extensive plate sections document a provocative and influential artistic era. This illustrated book accompanies Dada, the most comprehensive museum exhibition of Dada art ever mounted in the United States, on view in 2006 at the National Gallery of Art, Washington, and The Museum of Modern Art, New York. The exhibition was on view at the Musee national d'art moderne-Centre Pompidou in Paris in 2005.
In her first book since the critically acclaimed Female Masculinity, Judith Halberstam examines the significance of the transgender body in a provocative collection of essays on queer time and space. She presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms’especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture. In a Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don’t Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the “transgender gaze,” as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counterpublics and queer temporalities. Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.
Launches an eight-volume series on the rebellious art form created during World War I by artists and writers in Zurich reacting to the horror of war, the onslaught of new technology, and the stifling aesthetics of futurism and cubism. In 11 essays, provides parameters for the historical and sociological context of the movement; its manifestation in visual arts, theater, the media, and literature; the correspondence between the actual works and the various manifestos; and the relevance of studying the phenomenon to present concerns. Illustrated in black and white. Annotation copyrighted by Book News, Inc., Portland, OR.
Published to coincide with a major exhibition, a thematically arranged, visual survey of modernist photography in central Europe features the work of some one hundred individuals whose creations exemplify the region's potential between the First and Second World Wars.
This book is the first to make the case that women's changing role in European andAmerican society was critical to Dada. Debates about birth control and suffrage, a declining malepopulation and expanding female workforce, the emergence of the New Woman, and Freudianism wereamong the forces that contributed to the dadaist enterprise.Among the female dadaists discussed arethe German émigré Baroness Elsa von Freytag-Loringhoven; Berlin dadaist Hannah Höch; expatriate poetand artist Mina Loy; the "Queen of Greenwich Village," Clara Tice; Margaret Anderson and Jane Heap,the lesbian couple who ran the Little Review; and Beatrice Wood, who died in 1998 at the age of 105.The book also addresses issues of colonialist racism, cross-dressing and dandyism, and the genderingof the machine.