Jaromír Funke (1896–1945) was one of the foremost photographers of the 1920s and 1930s in Czechoslovakia. Funke's work merged with the mainstream amateur movement, as well as national and international avant-garde art—Devĕtsil in Prague, and Cubism, Surrealism, and the Bauhaus abroad. This is the first extensive presentation of his work outside of Europe.
This exhibition explores the way Russian avant-garde poets and artists responded to this crisis through their book art. Often working collaboratively, poets and artists designed pages in which rubber-stamped experimental poetry shared space with archaic and modern scripts, as well as with primitive and abstract imagery. The Russian avant-garde utilized such verbal and visual disruptions to convey humor, parody and an ambivalence about Russia's past, present, and future.
During the years spanning the revolutions of 1905 and 1917, Russia was in spiritual, social, and cultural crisis. This exhibition explores the way Russian avant-garde poets and artists responded to this crisis through their book art.
- "Postmodernism: Style and Subversion 1970-1990," on view at London’s Victoria & Albert Museum through January 15th 2012, is the first major exhibition to take a long, hard look at…
This die-cut fabric pendant lamp has a structural, geometric presence and adds a bright, modern ambience to any room. The shape was inspired by the conceptual 1970s designs of the avant-garde architectural group Archigram.
Guest curated by Roald Nasgaard, Professor of Art History at Florida State University, this exhibition includes sixty works of art, as well as photographs, books, and other ephemera documenting the history of the Automatiste, Canada’s first truly avant-garde art movement. Organized by the Varley Art Gallery in Unionville, Ontario, this landmark exhibition will represent the first extensive retrospective of the work of this group of Canadian abstract artists to be shown in the United States.
The Automatistes were the first artists to bring modernist painting to Canada and the first Canadian artists to embrace avant-garde gestural abstraction. Gathered under the leadership of Paul-Émile Borduas in the early 1940s, they were inspired by stream-of-consciousness writings of the time and approached their works through an exploration of the subconscious.
They published Refus global (Total Refusal) in 1948 and it became one of the pillars of the Quiet Revolution, a period of intense change in Quebec. Refus global was an anti-religious and anti-establishment manifesto—one of the most controversial artistic and social documents in modern Quebec.
The Automatistes were not solely painters, but also included dancers, playwrights, poets, critics, and choreographers. After twenty years of challenging the politically and religiously repressive Quebec society, the Automatiste group disbanded in 1960 after the death of Borduas.
In Buffalo, the exhibition will be contextualized by an installation, also organized by Roald Nasgaard, of works from the Albright-Knox Art Gallery’s Permanent Collection designed to illuminate the connections and relationships between these Canadian artists and their European and American counterparts, including the United States avant-garde, the Abstract Expressionists. The opening at the Albright-Knox will be the first time this important work can be seen in a broader international context.
- Kinship in design is often viewed as simply a matter of showing relations, both formally and historically, between objects that share color, pattern, and local craft strategies.
- In an Internet culture that rarely amounts to anything more than cool hunting, it's rare to come across a site that has any dedication to how creativity and the arts actually function.