My visit to Moscow's Maiakovskii Museum serves as starting point for an exploration, informed by Peter Bürger's Theory of the Avant-Garde, of the influence of the Russian avant-garde and poet Vladimir Maiakovskii's role within this movement. It also queries the essentialism and functionality of the museum dedicated to him, as well as the personal experience of my visit.
Andrew A. Gentes
On the Wider Import of a Distinction Debora Silverman Develops in Van Gogh and Gaugin
This essay seeks to extend Debora Silverman's distinction between van Gogh's project of "spiritualizing the material" and Gauguin's related but opposed one of "dematerializing the world" to a wider range of modernist and avant-garde projects. It employs this distinction in connection with Astradur Eysteinsson's analysis of the problems of using such terms as modernism, the avant-garde, and postmodernism in relation to realism and the various revolts against it that have taken place since the age of romanticism. Eysteins-son's general approach is followed, but also in part questioned and given a different direction through discussions of Duchamp, the surrealists, Baudelaire, and Rimbaud.
An Epilogue to Van Gogh and Gauguin: the Search for Sacred Art
Kenneth E. Silver
Silverman's intent is to emphasize the "critical role of religion in the development of modernism." As an addendum to that pursuit, it should be pointed out that, well into the twentieth century, religion remained crucial to artistic innovation and development (and still is). We now recognize how important apocalyptic imagery was to Wasily Kandinsky's abstraction. In the wake of the Second World War, and French occupation by the Germans, religion made a powerful reappearance in the art of the avant-garde. Henri Matisse's Chapel of the Rosary at Vence is one of the great works of this period; it is worth briefly examining the ways in which Matisse understood the intersection between modern art and his reengagement with Catholicism.
A Haptic Reading of Phil Solomon’s Experimental Films
experimental cinema as a key to expanding the scope of the discussion, by turning particular attention to close-to-abstract experimental films and the experience of space, texture, and motion. While Elsaesser and Hagener point out the relevance of “avant-garde
Playing at Diminished Reality in East Jerusalem
Fabio Cristiano and Emilio Distretti
prefixed trajectories and creates meaning by disrupting the linearity of life and space. Deviating from prefixed trajectories, walking serves as a tool for imagining, learning, reinterpreting, and reappropriating urban and nonurban spaces. Avant-garde
Modernist Aesthetics and American Underground Film
argued that Menken’s primary influence on American avant-garde film stylistics should be traced back to her pivotal achievement in the development of an ambulatory or somatic camera technique, one that often featured but did not exclusively depend on her
This issue of Projections ranges across the avant-garde cinema, tear-jerking melodramas, the nature of historical trauma, and narratives that assume playful, game-like formats and that may be found in title sequences and trailers.
An Interview with Anke Feuchtenberger
Mark David Nevins and Anke Feuchtenberger
Anke Feuchtenberger is a German avant-garde cartoon artist (b. 1963) with a strongly caricatural style. In this interview she discusses her childhood and education in former East Germany, historical influences upon her - including Rodolphe Töpffer - and current inspiration, as well as creational techniques and work in progress. In a further section the artist provides direct analysis of several of her publications.
Marie Cartier, Tad Shull and John Ireland
Marie Cartier La Dactylographie et l’expéditionnaire: Histoire des employés de bureau (1890-1930) by Dephine Gardey
Tad Shull Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde by Bernard Gendron
John Ireland La Naissance du phénomène Sartre: Raisons d’un success 1938-1945 by Ingrid Galster
Written against the backdrop of Brexit, this short article examines the long history of British disregard for modernist and experimental avant-garde aesthetics, one frequently commented upon by critics and artists over the past century. In What Ever Happened to Modernism? Josipovici added his voice to this chorus, but his focus on British insularity went unremarked by reviewers. In addition to considering this more recent text, the article lingers over Josipovici’s ‘English Studies and European Culture’, an essay written in the 1970s that presciently explores the symbiotic and primary relationship between England and the continent.