Kandinsky, Franz Marc (eds.): Der Blaue Reiter (1912–) [DE, RU, EN]

Der Blaue Reiter [The Blue Rider] was initiated in 1911 by the young painters Wassily Kandinsky and Franz Marc and was active until 1914. Conceived in June 1911 and published in Munich in May 1912, Der Blaue Reiter (Almanach) [The Blue Rider Almanac] presented their synthesis of international culture to the European avant-garde at large.

The Almanac was published in an edition of 1100 copies. Its costs were underwritten by the industrialist and art collector Bernhard Koehler, a relative of August Macke. It contained reproductions of more than 140 artworks, and 14 major articles. A second volume was planned, but the start of World War I prevented it. Instead, a second edition of the original was printed in 1914.

The contents of the Almanac included:
* Marc’s essay “Spiritual Treasures,” illustrated with children’s drawings, German woodcuts, Chinese paintings, and Pablo Picasso’s Woman with Mandolin at the Piano
* an article by French critic Roger Allard on Cubism
* Arnold Schönberg’s article “The Relationship to the Text”, and a facsimile of his song “Herzgewächse”
* facsimiles of song settings by Alban Berg and Anton Webern
* Thomas de Hartmann’s essay “Anarchy in Music”
* an article about Alexander Scriabin’s Prometheus: The Poem of Fire
* an article by Erwin von Busse on Robert Delaunay, illustrated with a print of his The Window on the City
* Macke’s essay “Masks”
* Nikolai Kulbin’s essay “Free Music”
* Kandinsky’s essay “On the Question of Form”
* Kandinsky’s “On Stage Composition”
* Kandinsky’s The Yellow Sound.

The art reproduced in the Almanac marked a dramatic turn away from a Eurocentric and conventional orientation. The selection was dominated by primitive, folk, and children’s art, with pieces from the South Pacific and Africa, Japanese drawings, medieval German woodcuts and sculpture, Egyptian puppets, Russian folk art, and Bavarian religious art painted on glass. The five works by Van Gogh, Cézanne, and Gauguin were outnumbered by seven from Henri Rousseau and thirteen from child artists. (from Wikipedia)

Second Edition
With two Forewords by Kandinsky and Franz Marc
Publisher Piper, Munich, 1914
140 pages
via Archive.org

Wikipedia (German)

Der Blaue Reiter (German, 1914, PDF converted from Archive.org’s JP2 scans, w/o blank pages, 43 MB, no OCR, multiple formats)
Siniy vsadnik (Russian, trans. Z.S. Pyshnovskaya, 1996, added on 2018-7-15)
English translation of the Forewords

Listen to Arnold Schönberg’s Herzgewächse (Audio)

Pavle Levi: Cinema by Other Means (2012–) [EN, SR]

“Cinema by Other Means explores avant-garde endeavors to practice the cinema by using the materials and the techniques different from those commonly associated with the cinematographic apparatus. Using examples from both the historical and the post-war avant-garde — Dada, Surrealism, Lettrism, “structural-materialist” film, and more — Pavle Levi reveals a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed, the “movies” with or without directly grounding their work in the materials of film. The study considers artists and theorists from all over Europe — France, Italy, Soviet Union, Germany, Hungary — but it particularly foregrounds the context of the Yugoslav avant-garde. Cinema by Other Means offers the English-language reader a thorough explication of an assortment of distinctly Yugoslav artistic phenomena, such as the Zenithist cine-writings of the 1920s, the proto-structural Antifilm movement of the early 1960s, and the “ortho-dialectical” film-poetry of the 1970s.”

Publisher Oxford University Press, 2012
ISBN 019984142X, 9780199841424
224 pages

Reviews: Matilde Nardelli (Oxford Art Journal, 2013), Greg DeCuir (Jump Cut, 2013), Bojan Jovic (Biblid, 2013, SR).
Exh. review: De Cuir (ARTMargins, 2013).

Publisher

Cinema by Other Means (English, 2012, updated on 2024-4-26)
Kino drugim sredstvima (Serbian, trans. Đorđe Tomić, 2013, added on 2024-4-26)

Benjamin Piekut: Experimentalism Otherwise: The New York Avant-Garde and Its Limits (2011)

“In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by “experimental” in avant-garde music. Focusing on one place and time–New York City, 1964–Piekut examines five disparate events: the New York Philharmonic’s disastrous performance of John Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations against the downtown avant-garde; Charlotte Moorman’s Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing together a colorful array of personalities, Piekut argues that each of these examples points to a failure and marks a limit or boundary of canonical experimentalism. What emerges from these marginal moments is an accurate picture of the avant-garde, not as a style or genre, but as a network defined by disagreements, struggles, and exclusions.”

Publisher University of California Press, 2011
ISBN 0520948424, 9780520948426
296 pages

Reviews: Thomas Fogg (Current Musicology, 2011), Clemens Gresser (Notes, 2012), Molly McGlone (Twentieth-Century Music, 2013), Jeremy Grimshaw (American Music, 2014).

Publisher

PDF (updated on 2020-5-3)