This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, ...
Author: Abbie Garrington
Publisher: Edinburgh University Press
Category: Literary Criticism
This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and
With the “ haptic ” type this position is reversed and visual apprehension of
external objects and events is superseded by inner bodily processes ; muscular
innervations , tactile memory , deep sensibilities , emotions and unconscious
Author: Ann Stephen
Publisher: Melbourne University Press
This collection of 200 papers introduces the ideas of modernism and its influence on Australia. The main players of the time period from 1917-1967 convey in their own words the tensions, aspirations and paradoxes behind the reception of modernism. Each document is accompanied by expert commentaries from the editors. The first anthology covering modernist art, design, and architecture in Australia, it chronicles the dogged institutional resistance that greeted modernism, particularly in the fine arts, and yet reveals a surprising acceptance of modernism in the commercial realms.
790 perspective in his photoplastics , placed haptic values at the center of his
artistic practice , exploring a condition that one media theorist recently dubbed "
tacti - mediality . ” ** His photograms , which were made provisionally , even ...
Author: Devin Fore
Publisher: Mit Press
The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with powerfully individuated characters. But the celebrated return of the human in the interwar years was not as straightforward as it may seem. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist postulates. Interwar realism, he argues, did not reinstate its nineteenth-century predecessor but invoked realism as a strategy of mimicry that anticipates postmodernist pastiche. Through close readings of a series of works by German artists and writers of the period, Fore investigates five artistic devices that were central to interwar realism. He analyzes Bauhaus polymath László Moholy-Nagy's use of linear perspective; three industrial novels riven by the conflict between the temporality of capital and that of labor; Brecht's socialist realist plays, which explore new dramaturgical principles for depicting a collective subject; a memoir by Carl Einstein that oscillates between recollection and self-erasure; and the idiom of physiognomy in the photomontages of John Heartfield. Fore's readings reveal that each of these "rehumanized" works in fact calls into question the very categories of the human upon which realist figuration is based. Paradoxically, even as the human seemed to make a triumphal return in the culture of the interwar period, the definition of the human and the integrity of the body were becoming more tenuous than ever before. Interwar realism did not hearken back to earlier artistic modes but posited new and unfamiliar syntaxes of aesthetic encounter, revealing the emergence of a human subject quite unlike anything that had come before.
The result , however , was the return of a highly diversified and largely haptic art .
" Highly diversified " because many of the trends that arose within the modern
orbit are in a state of straightout conflict . - NOTHER ANGLE ON MODERNISM ...
He notes , further , that “ against the Newtonian conception of optical color , it was
Goethe who laid down the first principles of . . . a haptic vision . The practical
rules of colorism are the following : the abandonment of local tone ; the ...
Author: Calvin Bedient
Category: Literary Criticism
In The Yeats Brothers, Calvin Bedient delivers a brilliant exploration of modernism through the mutual illumination provided by Ireland's greatest poet and greatest painter. By examining the poems of the one and the paintings of the other, he recovers an often overlooked quality both artists embraced in their work--that core feature of modernism, a thoroughgoing preoccupation with motion and fluidity, that terrifying encounter with the universe conceptualized as force. Bedient's is the first book to treat W. B. Yeats and Jack Yeats as twin geniuses in the detection and representation of chaos. William Butler Yeats's love and fear of motion pervade every aspect of his poetry, helping to determine his themes, riddle his images, and shape the cadences of his verse. Jack Yeats's focus on change and motion caused him to engage with the cross-currents of his time, not--as sometimes thought--to remain locked in the past. Through daring and nuanced readings of the poems and analyses of the paintings, Bedient reveals the two artists to have been complicit with modernism--against homogeneity, alert to divisions, polyphony, and restlessness in things and in ourselves. Adept in close discussion of poetic and painterly style, and magisterial in his grasp of theorists from Adorno through Zizek, Bedient provides us with genuinely new interpretations of the Yeats brothers' work, and with a more sophisticated understanding of modernism. "There are dozens of books on W. B. Yeats, and some on his brother Jack, but no one has put the two together before. Calvin Bedient does so very adroitly, without conflating their respective achievements. Bedient argues brilliantly that these two very different artists reveal a meaningful shortcoming in our customary understanding of modernism; by showing that both were fascinated by movement, or mobility--the diverse processes of change--Bedient pulls the poet toward the painter to show these two artists in sympathy with the thought of their time. An important revisionary argument about the meaning of modernism, Bedient's work also exhibits a lively, candid critic explaining the work of the Yeats brothers in readings that constantly repay attention. No one could have a better companion while reading W. B. Yeats' poems, or viewing Jack Yeats' paintings." --Robert von Hallberg, University of Chicago "Welcome to the 'terrible novelty of light.' Fearless, virtuosic, turbulence-charged, The Yeats Brothers and Modernism's Love of Motion is a ravishing triumph. Plunging with nonetheless meticulous yet rippling (and yes, muscled) analytic brilliance and sensuousness through the poems and paintings of W.B. and Jack Yeats, Bedient gives us one of the most profound, emulatively thrilling, stylish, and wide-awake celebrations of poetry, of painting, and of Modernism itself, one could hope to read. No one has better caught--or rather transmitted--so much of the towering and torrential genius of the Yeats brothers, seen here in a rushing storm of cultural, political, aesthetic, and daemonic forces. The unstaunched motive, and emotive, force of Bedient's book takes us directly into the tragic yet joyful--indeed exultant--leap of poem after poem, canvas after canvas, all of them luminous, endlessly reconstitutive and volatile elements of what remains, in these gorgeous pages, the 'bursting dawn' of their Movement, still redolent as it is with the 'storm-scattered intricacy' of night." --Peter Sacks, Harvard University "This is a captivating and theoretically sophisticated study of what Calvin Bedient identifies as mobility in the Modernist poems and paintings of the two Yeats brothers. Jack Yeats, the painter, has been curiously neglected by the art world outside Ireland; Bedient here reclaims his work as the worthy visual counterpart to the lyric poems of Jack's famous brother William Butler Yeats, a poet who relentlessly interrogated the regimes of representation as they were given to him at the turn of the twentieth century. Both poet and painter devised art constructs that come to terms with the restlessness, the uncertainty, and the stark divisions of Modernism. Like Bedient's earlier critical studies, The Yeats Brothers is startlingly original." --Marjorie Perloff, author of Wittgenstein's Ladder and Twenty-First Century Modernism
This book is about the rise of a new ethos in British mountaineering during the late nineteenth century.
Author: Alan McNee
Category: Literary Criticism
This book is about the rise of a new ethos in British mountaineering during the late nineteenth century. It traces how British attitudes to mountains were transformed by developments both within the new sport of mountaineering and in the wider fin-de-siècle culture. The emergence of the new genre of mountaineering literature, which helped to create a self-conscious community of climbers with broadly shared values, coincided with a range of cultural and scientific trends that also influenced the direction of mountaineering. The author discusses the growing preoccupation with the physical basis of aesthetic sensations, and with physicality and materiality in general; the new interest in the physiology of effort and fatigue; and the characteristically Victorian drive to enumerate, codify, and classify. Examining a wide range of texts, from memoirs and climbing club journals to hotel visitors’ books, he argues that the figure known as the ‘New Mountaineer’ was seen to embody a distinctly modern approach to mountain climbing and mountain aesthetics.
According to Löwenfeld , the ' visual ' artist was orientated to the ' external world ' ,
whereas ' with the haptic type , as with Modernism as a whole , his [ sic ] own
inner bodily processes , his subjective knowledge It is instructive to compare ...
Author: Queensland Art Gallery
Publisher: Queensland Government Publications
Brought to Light - a publication on the Australian art collection of the Queensland Art Gallery - presents a new model for the documentation of visual arts collections in Australia. It is not a catalogue but an anthology of 60 original essays on selected works of interest. Approximately 150 works are illustrated and discussed in 60 original essays from scholars, artists and art historians, who place works in historical and social contexts in ways that expand the reader's knowledge of specific works of art and Australian art history. Comparative illustrations from other public collections and artists' archives are a special feature of this book. Featured artists include: Arthur Streeton, Rupert Bunny, George Lambert, Roland Wakelin, Grace Cossington Smith, Lloyd Rees, William Dobell, Russell Drysdale, Margaret Preston, Sidney Nolan, Ian Fairweather and Albert Namatjira.. Contributing authors: Elizabeth Churcher, Mary Eagle, Julie Ewington, Sasha Grishin, Doug Hall, Humphrey McQueen, Joanna Mendelssohn, Drusilla Modjeska, Margo Neale, Barry Pearce, Mark Pennings, Andrew Sayers and Virginia Spate. Features over 300 illustrations (many full-page).
Araband Muslim - world modernism includes many of the same experiments with
the flattening effects of abstract line and haptic space that have occurred in the
West . 59 Among Arab modernists ' experiments was a revival of Islamic ...
Author: Laura U. Marks
Publisher: Mit Press
Tracing the connections--both visual and philosophical--between new media art and classical Islamic art. In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the "Islamic" quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, "nonorganic life" in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.
ELLE SHREST ICE and focusing on their materiality 63 Preferring " the tactile
over the visual , the haptic over the optic , " 64 they intended to liberate objects
from their instrumentality and to elevate the ordinary into joyous experience .
Author: Anthony Alofsin
Publisher: Studies in the History of Art
This fascinating book is the first critical examination of the East Building, I. M. Pei’s celebrated addition to the National Gallery of Art in Washington, D.C. Distinguished contributors consider this iconic building from various historical vantage points, from the evolution of its design to its place in 20th-century museum architecture. Essays by Neil Harris, Anthony Alofsin, Alona Nitzan-Shiftan, and Réjean Legault discuss the building’s relationship to the city of Washington, its critical and public reception, and the special nature of its use of materials. Barry Bergdoll and David Brownlee compare it to contemporary works by Marcel Breuer, Edward Larrabee Barnes, and other modernists. Victoria Newhouse, Marc Treib, Barnabas Calder, and Andrew Saint consider it in the context of museum architecture, exploring the relationship between art installations and museum design, museum additions by other well-known architects, and the challenges of building and supporting an art museum outside a major metropolitan area. Drawings, models, and photographs provide a visual history of the building’s development.
It is not only in its inutility but also in its conceptual independence from literature
and language that the modernity of modern art ... Himself the inheritor of a rich
European culture , he was aware that artistic authenticity required a kind of haptic
They were the boring ' visual types , stolidly measuring their art and their
responses against the external world , while the liberated haptic types were modernists whose subjective knowledge and experience ' are ALWAYS the real
Author: Janine Burke
Publisher: Alfred A. Knopf
Biography of artist Albert Tucker (1914-99), a self-taught painter who delighted in painting the dark side. He was a key figure in the Australian art scene during the early 1940s, along with Arthur Boyd and Sidney Nolan. Includes photos, notes, bibliography and index. Author has lectured in art history and has degrees from the University of Melbourne and La Trobe University. Previous titles include 'Joy Hester' and 'Dear Sun: The Letters of Joy Hester and Sunday Reed'.
In not trying to get beyond the surface , be it to plomb the depths or to transcend it
, Marks's concept of haptic visuality situates our vision at the surface of the text ,
bringing us in close to the skin of " difference ” inscribed as social text that we are
The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism.
Author: John Jervis
Category: Literary Criticism
Modernity theory approaches modern experience as it incorporates a sense of itself as ‘modern’ (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism. As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, and imagination, that we refer to as ‘civilization’, in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history.
The sensory presence and immediacy of the phenomena and the incorporation
of acoustic , optical and haptic perceptions intensify the process . Situations
objectively perceived and experienced have their greatest effect on the spatial
... of the paintings in the exhibition was “ the elaboration of structure based on the
optic and haptic qualities of paint and color , " an affirmation that paint and color
are themselves primary material , primary sensation , complete in themselves .
Author: Gottfried Boehm
Publisher: Prestel Pub
"This illustrated volume examines the lines of influence leading from Monet to the great modern exponents of Abstract Expressionism. The book emphasizes the innovative aspects of Monet's late works, including his famous waterlily paintings and Rouen Cathedral series. His paintings are juxtaposed with those of 30 modern artists, including Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, and Ellsworth Kelly." "The ground-breaking importance of Monet's late work was long underestimated by avant-garde artists of the early 20th century. For them Cezanne was the father of modern art. It was only in the 1950s that the Abstract Expressionists in America and Europe began to recognize and build upon Monet's achievements. This fascinating volume provides fresh insight into the works of Monet and the followers of Abstract Expressionism in its various American and European manifestations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Instead of the haptic , tangible reality of the Realists , this medium now stands for
the truth , it represents a new ideal . It is thus primarily through the use of color
that these painters , the actual Impressionists , distinguish themselves from their ...
Author: Sandro Bocola
Publisher: Prestel Pub
A fascinating interdisciplinary study, explaining the development of modern art from the 1790s until today.
Most famously, Riegl defined the haptic and optic in his consideration of antique
relief, Late Roman Art Industry (1901); ... but the language that describes the
optic as superseding the haptic is no less than the ground of high modernism.
Spoiled Distinctions charts twentieth-century experiments in the aesthetics of the ordinary, arguing that Proust and his literary and philosophical successors (Francis Ponge, Nathalie Sarraute, Yasmina Reza, Pierre Bourdieu, and Roland ...
Author: Hannah Freed-Thall
Publisher: Oxford University Press, USA
Category: French literature
Spoiled Distinctions investigates crises of evaluation in twentieth-century France. Taking Marcel Proust as its central figure, the book theorizes the disorienting force of everyday aesthetic experience. In a series of surprising readings, Hannah Freed-Thall frees Proust from his reputation as the most refined of high modernists. The author of In Search of Lost Time appears here as a journalist and newspaper enthusiast, a literary ventriloquist and connoisseur of popular scandals, and a writer attentive to the unsophisticated phenomenology of the here and now. The final chapters of the book consider the legacy of Proust's experiments with inestimable worth. Authors Francis Ponge, Nathalie Sarraute, and Yasmina Reza also explore the underside of cultural distinction. With Proust, they elaborate modernist variations on the beautiful and sublime--from nuance to the "whatever" and from the awkward to the sickly-sweet. Spoiled Distinctions thus revitalizes the critical discourse on aesthetics. Mapping the intersection of phenomenology, aesthetic theory, and the sociology of culture, the book reveals how enchanting the ordinary can be.
One of the wonders of the modern international art world, The Papunya Painting Movement has gone towards restoring the cultural pride of a deeply spiritual people. This is an account of Geoffrey Bardon's part in the origins of this contemporary art movement.