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  1. A FOUNDRY OF THE FIGURE: ANTONIN ARTAUD. By Stephen Barber. If there is a culture it is always alive and burns things up. – Antonin Artaud. OVER THE LAST THIRTY YEARS, the emotional and intellectual impact of the work of Antonin Artaud has been colossal. The ideas of a Theater of Cruelty that he set out in the 30s have permeated the stages of ...

  2. A CINEMA OF CRUELTY: ANTONIN ARTAUD. By Stephen Barber. In September 1987, Artforum published “A Foundry of the Figure: Anton in Artaud,” an excerpt from Stephen Barber’s forthcoming book on Artaud. What follows is a second section of the book—an examination of Artaud’s work in film.

  3. MODERNISM WITHOUT ORGANS: ANTONIN ARTAUD. Abel Gance, Napoléon, 1927. Production still. Marat (Antonin Artaud). SINCE THE PUBLICATION of Peter Bürger’s Theory of the Avant-Garde, importantly inflected by Benjamin H. D. Buchloh and Hal Foster, we have understood postwar art as conditioned by the progressive recovery of the legacies of avant ...

  4. www.artforum.com › events › antonin-artaud-works-on-paper-194033“Antonin Artaud: Works on Paper”

    After the “Spells,” the barely coherent bouillabaisse drawings are the most emotionally primitive of Artaud’s works on paper. “Composites” of imagistic fragments, mostly of parts of the body, they suggest that Artaud had reached the final stage of disorder. Throughout his life he was embarrassed by his body, and now he no longer had ...

  5. www.artforum.com › features › surrealism-in-mexico-206854SURREALISM IN MEXICO - Artforum

    With María Izquierdo (1906–56) and Frida Kahlo (1907–54), two artists who died relatively young, surrealism flows from its source—the unconscious—and not from a willed design. Of all the artists Antonin Artaud saw during his trip to Mexico in 1936, he was most taken with Izquierdo: the melange of mastery and naivete in her paintings ...

  6. www.artforum.com › features › nancy-spero-2-214197NANCY SPERO - Artforum

    In her Antonin Artaud paintings, which began in 1969, the ideographs alternate unpredictably with passages of text, rendered first on small sheets written left-handed; later, in the Codex Artaud group, 1971–72, she used long scrolls with the quotations set in large bulletin type.

  7. DISPENSABLE FRIENDS, INDISPENSABLE IDEOLOGIES: ANDRE BRÉTON’S SURREALISM. By Donald Kuspit. SURREALISM HAS RIPENED INTO a burdensome, slightly blowsy cliché, mechanically used in much “new” art. Its manifestos have become all too official and academic; the movement has suffered more than most from popular success.

  8. BEYOND REDUCTIVISM: THE WORK OF ALAN SONDHEIM. No imagery satisfies me unless it is also knowledge. —Antonin Artaud. IN THE PAST FIVE YEARS, Alan Sondheim has produced a large body of work, including records of experiments, performances, notational schemes, and several book-length essays, that is notable not only for its intellectual zeal and ...

  9. www.artforum.com › features › the-surrealist-film-213599THE SURREALIST FILM - Artforum

    Artaud’s position vis-à-vis his audience has been accurately described as a desire to jar them into an awareness of and a receptivity to surreality. 9 This observation is equally to the point in coming to terms with a rationale for the famous opening sequence of Un Chien Andalou, the first film to be officially recognized by the Surrealist group in 1929.

  10. 5 de out. de 2023 · The sordid grandeur of Emilio Fernández’s Victims of Sin. Emilio Fernández, Víctimas del Pecado (Victims of Sin), 1951, 35 mm, black-and-white, sound, 84 minutes. Violeta (Ninón Sevilla). SURREALIST FELLOW TRAVELER Antonin Artaud visited Mexico in 1936, reporting back that “Mexico has its own science and its own culture.”.

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