Filed under book, catalogue | Tags: · art, art history, autonomy, avant-garde, capitalism, formalism, gesture, hallucination, modernism, primitivism, surrealism, totality
“Resonating at the heart of Neolithic Childhood. Art in a False Present, c. 1930 is the question whether art has present, past, and future functions. The modernist assertion of the autonomy of art was intended to render superfluous art’s social and religious functions. But what if the functionlessness of art comes under suspicion of being instrumentalized by bourgeois capitalism? This was an accusation that informed the anti-modernist critique of the avant-garde, and particularly of Surrealism. The objective throughout the crisis-ridden present of the 1920s to the 1940s was to reaffirm a once ubiquitous, but long-lost functionality—not only of art.
The publication accompanying the exhibition examines the strategies deployed in this reaffirmation. These include the surrealist Primitivism of an “Ethnology of the White Man” together with the excavation of the deep time of humanity—into the “Neolithic Childhood” mapped out by the notoriously anti-modernist Carl Einstein (1885-1940) as a hallucinatory retro-utopia. The volume brings together essays by the curators and academics involved in the project, primary texts by Carl Einstein and a comprehensive documentation of the exhibition including lists of works, texts on as well as images of numerous exhibits and finally installation views. At the center of the volume, a glossary discusses Carl Einstein’s own theoretical vocabulary as well as further associated terms, such as Autonomy, Formalism, Function, Gesture, Hallucination, Art, Metamorphosis, Primitivisms, Totality.”
With contributions by: Irene Albers, Philipp Albers, Joyce S. Cheng, Rosa Eidelpes, Carl Einstein, Anselm Franke, Charles W. Haxthausen, Tom Holert, Sven Lütticken, Ulrike Müller, Jenny Nachtigall, David Quigley, Cornelius Reiber, Erhard Schüttpelz, Kerstin Stakemeier, Maria Stavrinaki, Elena Vogman, Zairong Xiang, Sebastian Zeidler.
Publisher Diaphanes, Berlin, and Haus der Kulturen der Welt (HKW), Berlin, 2018
ISBN 9783035801064, 3035801061
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Filed under catalogue | Tags: · architecture
Edited by Institut für Gebäudelehre und Entwerfen/TU Graz and Gallery H
Publisher Technische Universität, Graz, 1980
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Filed under catalogue | Tags: · art, collage, installation art, minimal art, painting, performance art, pop art
Yayoi Kusama’s work combines elements of expressionism, minimalism, surrealism and pop art.
“Although an active experimental artist throughout her time in New York during the ’50s and ’60s, Kusama had been largely forgotten by the United States public after her return to Japan in the ’70s. That is, until her artwork began circulating across the US and globe again in the mid-’90s. One of these major retrospectives, Love Forever: Yayoi Kusama, 1958-1968, was co-organized by the Los Angeles Museum of Art and The Japan Foundation, and travelled from Los Angeles to New York City and to Minneapolis.
Kusama described this moment in her autobiography Infinity Net: “My exhibition at Robert Miller Gallery that year… won an AICA award. A review in Time Out said that ‘Kusama has kept out of sight, ensconcsed in her own infinite world, but now she’s back to reclaim her rightful place in the history of postmodernism…’ But the biggest highlight came in March 1998 when Love Forever opened at the Los Angeles Museum of Art. This grand retrospective cemented the reassessment of Kusama as a major avant-garde artist. It included some eighty pieces and had taken five years to compile.””
With essays by Lynn Zelevansky, Laura Hoptman, Akira Tatehata, and Alexandra Munroe.
Publisher Los Angeles County Museum of Art, Los Angeles, 1998
ISBN 087587181X, 9780875871813