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Modern Art (modern + art)
Selected AbstractsPainting the Difference: Sex and Spectator in Modern Art by harrison, charlesJOURNAL OF AESTHETICS AND ART CRITICISM, Issue 2 2007PEG BRAND No abstract is available for this article. [source] The Bunshaft Tapes: A Preliminary ReportJOURNAL OF ARCHITECTURAL EDUCATION, Issue 2 2000Reinhold Martin Among the material collected in the Gordon Bunshaft Papers in the Avery Architectural and Fine Arts Library Archives at Columbia University are seventeen audiocassette tapes documenting a series of interviews between Arthur Drexler (1925-1987), curator of architecture and design at the Museum of Modern Art, and Gordon Bunshaft (1909-1990) of Skidmore, Owings & Merrill (SOM). In these tapes, Bunshaft and Drexler proceed systematically through Bunshaft's work for SOM, with Drexler consistently probing for evidence of authorial intentionality, resisted by Bunshaft. This report considers the manner in which these tapes construct a complex "orality," in which Bunshaft's testimony refuses the intertextual mediation implied by Drexler's questions, which themselves rely on the authority of an oral testimony to guarantee the authenticity of the answers. In turn, Bunshaft's refusals to engage with architectural discourse in the name of a pseudotransparent pragmatics demonstrate the extent of his identification with the ethos of his clients, corporate executives whose "visionary" status in the postwar period was a function of their own-discursive-privileging of pragmatic action over reflective discourse. [source] Indigenous Media Gone Global: Strengthening Indigenous Identity On- and Offscreen at the First Nations/First Features Film ShowcaseAMERICAN ANTHROPOLOGIST, Issue 2 2006KRISTIN DOWELL For 12 days in May 2005, the Museum of Modern Art (MoMA) in New York and the Smithsonian's National Museum of the American Indian (NMAI), as well as several other screening venues in Washington, D.C., hosted a group of renowned indigenous filmmakers from around the globe for the groundbreaking film showcase, "First Nations/First Features: A Showcase of World Indigenous Film and Media." This film showcase highlighted the innovative ways in which indigenous filmmakers draw on indigenous storytelling practices to create cinematic visions that honor their long-standing indigenous cultural worlds while reaching local and world audiences. In this essay, I highlight the onscreen impact through an analysis of several films featured in First Nations/First Features, as well as the offscreen impact emphasizing how the indigenous directors used this opportunity to strengthen social networks and share experience in this industry, which may develop into future collaborative film projects. [source] Antibodies: Rachel Whiteread's Water TowerART HISTORY, Issue 3 2003Sue Malvern First commissioned in 1994 and installed on a rooftop in SoHo, New York City, in 1998, Rachel Whiteread's Water Tower has been described with tropes identifying it as an alien presence on the New York skyline. In effect, Water Tower, and, by extension, the artist herself , has been classed as an immigrant or a foreign body, marked by difference. Water Tower is a tour de force of resin casting from one of New York's unique and ubiquitous wooden water towers, and has also been seen as a monument or a memorial. The piece was recently purchased and donated to the Museum of Modern Art, New York, and a once-discreet, sometimes invisible, ephemeral sight, that played on presence and absence, became a permanent monument in the canon of modern art. [source] Microsurgical vasoepididymostomy with sperm cryopreservation for future assisted reproductionINTERNATIONAL JOURNAL OF UROLOGY, Issue 12 2000Hatsuki Hibi Abstract Background Although obstructive azoospermia is treatable with microscopic seminal reconstruction, the number of patients who choose to undergo vasoepididymostomy is limited because of recent advances in assisted reproductive technology (ART). We attempted to define the outcome of surgical reconstruction in patients with suspected epididymal obstruction and no previous history of vasectomy. Methods We described 40 eligible end-to-side vasoepididymostomy procedures performed on 24 azoospermic patients who had either bilateral or unilateral epididymal obstruction. Results The overall patency rate following surgery was 54% (13/24) and for four patients (17%), natural intercourse resulted in pregnancy. Two pregnancies were initiated with intracytoplasmic sperm injections using frozen sperm collected during vasoepididymostomy. Conclusions In the era of modern ART, microsurgical vasoepididymostomy with cryopreservation of sperm collected during the operation is recommended for patients with epididymal obstructions. [source] GENEALOGIES OF THE GRID: REVISITING STANISLAWSKI'S SEARCH FOR THE ORIGIN OF THE GRID,PATTERN TOWN,GEOGRAPHICAL REVIEW, Issue 1 2008REDWOOD, REUBEN S. ROSE ABSTRACT. As a spatial form, the grid pattern has influenced a range of human activities, from urban planning, architecture, and modern art to graphic design, archaeology, and cartography. Scholars from different disciplines have generally explored the role of the grid within their respective fields of inquiry. One of the earliest geographical attempts to systematically trace the origin and diffusion of the grid-pattern town was provided by Dan Stanislawski in the mid,twentieth century. In this article I critically examine the limitations of Stanislawski's theory of the grid's origin as a means of challenging the doctrine of diffusionism more generally. I then provide a selective overview of recent approaches to understanding the grid and call for a comparative genealogy of gridded spaces and places. [source] Antibodies: Rachel Whiteread's Water TowerART HISTORY, Issue 3 2003Sue Malvern First commissioned in 1994 and installed on a rooftop in SoHo, New York City, in 1998, Rachel Whiteread's Water Tower has been described with tropes identifying it as an alien presence on the New York skyline. In effect, Water Tower, and, by extension, the artist herself , has been classed as an immigrant or a foreign body, marked by difference. Water Tower is a tour de force of resin casting from one of New York's unique and ubiquitous wooden water towers, and has also been seen as a monument or a memorial. The piece was recently purchased and donated to the Museum of Modern Art, New York, and a once-discreet, sometimes invisible, ephemeral sight, that played on presence and absence, became a permanent monument in the canon of modern art. [source] Beware of Domestic Objects: Vocation and equivocation in 1936ART HISTORY, Issue 5 2001Steven Harris This article focuses on the competing conceptions of surrealism held in the 1930s by Salvador Dalí and André Breton, which were centred on the notions of paranoia-criticism and automatism. The article is oriented around the production of a number of surrealist objects and paintings in which these differences were articulated, and includes a discussion of the ways in which paranoia-criticism and automatism were theorized in the 1930s. It includes as well a discussion of the surrealists' critical relation to modern art, which is exemplified by the surrealist object, and of the way in which gender played a determining role in the conflict between the conceptions of surrealism offered by Dalí and Breton. [source] On the Hot Seat: Mike Wallace interviews Marcel DuchampART HISTORY, Issue 1 2000Naomi Sawelson-Gorse Marcel Duchamp (1887,1968) attained fame early in his career due to the succès-de-scandale surrounding his painting, Nude Descending the Staircase, No. 2 (1912), when it was exhibited at the 1913 New York Armory Show. Seemingly derisive of all Western aesthetic canons, the work came to embody the general public's outrage and confusion about modern art, which seemed to them merely a shameless hoax, while it achieved an iconic stature for modern art's defenders and supporters. Similar polar sentiments persisted in mid-century. Concurrent with Duchamp's re-emergence as an art celebrity, the then new medium of television broadcast art-based programmes directly targeted at a burgeoning American middle class (mostly white, Eastern, suburbanites), who were themselves fuelling an ever-expanding and high-priced art market. With inflated prices, the nagging question was whether consumers were being bilked by the so-called ,crook-and-swindle' business of art. In Duchamp's television interview with Mike Wallace that aired in New York on 18 January 1961, which is transcribed for the first time in English in this article, the ,crook-and-swindle, business of art, especially about modern art, takes centre stage, as the artist comments on numerous artists and critics, and reflects on his own artistic production, relationship to the art market and celebrity status. [source] | ||||||||||