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14/18 – Rupture or Continuity
The impact of the Great War and its aftermath on Belgian artistic life World War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 – Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century.
Adventures in Modern Art
Published on the occasion of an exhibition held at the Philadelphia Museum of Art, Mar. 16-June 5, 2011.
Theses Completed 2014
- Lists over 600 theses on historical topics completed during 2014 in UK and Irish universities - Includes not only history departments, but other departments where historical subjects might be taught - Gives full details of title, supervisor and university - Provides a subject index to aid searching, together with indexes of universities and authors The online version of Theses Completed is published on the IHR's website, where searches can be conducted by type of history, geographical area or period.
A Secret History of Clay
The qualities that have caused clay to be overlooked as a medium by those writing the history of modern art are precisely those that make it attractive to artists. It is easy to work, fragile, inexpensive, unpredictable and physical, and therefore inherently subversive. A Secret History of Clay reveals the previously undisclosed love affair between artists and this most humble of materials and in doing so re-writes modern art history. Works by some of the greatest artists of the twentieth century, many never reproduced before, will be fully illustrated in colour, tracing the transition of ceramics from a craft pursuit to something altogether more radical. Simon Groom, curator of the exhibition, argues the case for a re-examination of the use of clay in modern art. The distinguished ceramicist and writer Edmund de Waal explores its history, examining little-known works works by groups such as the Fauves, Russian Suprematists, German Expressionists, Italian Futurists, and CoBrA, as well as by artists including Duchamp, Miro, Picasso and Noguchi. The book will also feature extracts from the manifestos and writings of both artists and critics on the use of clay. Starting with Gauguin,
Die Woodstock-Story
August 1969. Mit dem größten Musikfestival, das es je gab, schreibt auch das gleichnamige beschauliche Städtchen Woodstock schlagartig Geschichte. Zum 40-jährigen Jubiläum in diesem Jahr erzählt Sylvia Kekulé die chronologische Entwicklung dieser Stadt. Denn schon mehr als 60 Jahre zuvor waren Menschen nach Woodstock aufgebrochen, um dort ihre Vorstellungen von Selbstbestimmtheit und Kreativität zu leben. Detailreich und lebendig schildert Kekulé die Geschichte dieses Aufbruchs und folgt seinen Spuren bis in die Gegenwart. Dabei öffnet sich der Blick auch auf Fragen der menschlichen Existenz, die heute so aktuell sind wie damals. Ein Buch, das sich auf eine andere Sichtweise dem Phänomen Woodstock nähert.
IFAR Journal
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Art in America
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