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The article focuses on the architectural complexity of Jean Renaudie's work, especially in relation to social housing and its theoretical implications. Topics include the contrast between modernist and post-modern urban planning in France, the influence of dissident Marxism on Renaudie's designs, and the challenges posed by the Grand Pari(s) initiative in addressing urban identity and representation.

AbstractThis study examines the ceramic works of a Nigerian artist, Ozioma Onuzulike, which vividly illustrate dress as an agency of power. His oeuvre features among other things the agbada, an extra-large clothing style prevalent in contemporary Nigeria, especially in elitist socio-political and cultural contexts. Over 25 years of Onuzulike’s ceramic art practice have consistently showcased modernist works that challenged conventional ceramic art and socio-political norms. His innovative use of clay and palm kernels to depict power dynamics in Nigeria has attracted some scholarly attention. This study employs compositional interpretation and contextual analysis to explore the visual, sociocultural, and political impact of Onuzulike’s hybrid ceramic art that depicts agbada. An iconological approach reveals the formal elements, historical, political, and social nuances embedded in the works. The concept of dress of power is used to unravel the multifaceted political significance of Onuzulike’s representations. Unpacking the visual vocabulary and metaphor of power in the works provides insights into the agbada as a status symbol in modern Nigeria. This artistic representation typifies a trend in contemporary African and diasporic art, where textile materials, forms, and ideas are central. [ABSTRACT FROM AUTHOR]

A central theme of this article is the developing tension between art specialists and non-specialists as a function of complex, differentiated figurations. Bourdieu's sociology of symbolic revolutions is allied to Elias's model of the relative autonomy of the artistic figurations within lengthening relations of interdependencies and shifting cognitive-emotional tension balances of feeling and reasoning and spontaneity and self-restraint. Within the sociology of art, the field positionings, power, interdependencies, language and habitus of art critics remain a relatively underdeveloped area of enquiry. Art critics function as 'professional explicators' in Bourdieu's terms or 'specialists in verbalisation' in Elias's to communicate standard-setting models of value and taste of specialists to non-specialists. Clement Greenberg emerged as a socially mobile oblate from a position of artworld outsider to hegemonic dominance as the leading notable of Modernist art criticism. The article examines the social conditions of possibility for Greenberg's standard-setting codes as they came to be established and sustained by particular figurations of people (a self-conscious avant-garde) at particular times (late 1930s–1970s) and places (New York). [ABSTRACT FROM AUTHOR]

The artice presents the discussion on peaceful scene of "Father Biart" engrossed in a book, as depicted by Henry van de Velde. Topics include highlighting the artist's transition from Neo-Impressionism to applied arts and architecture; and van de Velde's meticulous painting style, his shift to Art Nouveau and modernism, and his comprehensive design approach at Villa Bloemenwerf.

The article offers information on Anthony Vidler's career as a pivotal figure in American architectural theory from the 1970s to the 2000s. It discusses Vidler's influential essays, notably "The Third Typology," which initially outlined distinctions between modern and postmodern architecture but later questioned its own conceptual framework.

The target article discusses the definition of "esotericism" within the study of Western esotericism. The authors argue that previous definitions have been rigid and propose fluid definitions that can be applied with flexibility and complementarity. They briefly mention global approaches but do not engage with them extensively. The article also explores the role of agency and prototypes in defining esotericism, with a focus on Islamic esotericism or al-bāṭiniyya. The authors' approach is criticized for sidelining non-European agency and for taking a normative view of Western esotericism. The article concludes by discussing the author's own research on al-bāṭiniyya as an Islamic prototype of esotericism and proposing four principles of Islamic esotericism. [Extracted from the article]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In December 1972, the Sicilian, Rome-based artist Carla Accardi landed in Rabat for an exhibition at the Galerie de l'Atelier. The exhibition included her Tent (1965–1966), a nomadic dwelling built with see-through plastic sheets and adorned with arabesque signs and luminous waves, as well as a series of paintings on canvas made of similar colourful signs. This essay contextualises Accardi's journey from Rome to Rabat, the first of her frequent travels to Morocco, within a series of encounters with an art group known as the School of Casablanca. The group included Moroccan artists Farid Belkahia, Mohammed Chabâa and Mohamed Melehi, the gallerist Pauline De Mazières, founder of l'Atelier, and the Sicilian anthropologist and art critic Toni Maraini. It ultimately seeks to contribute to a wider disciplinary call to reorient modern Italian studies away from Euro-American paradigms, and towards the politics and poetics of the South, here used in its more fluid definition to denote the wider Mediterranean region. [ABSTRACT FROM AUTHOR]

In my response to Michael W. Clune's A Defense of Judgment , I express some reservations about the notion of "community" that Clune invokes when he describes the sort of aesthetic judgment characteristic of a community of experts. More exactly, I ask whether a community focused on works of art and coming into being in a situation determined by modernism in the arts can ever cohere in quite the way that Clune needs it to, whether it can (or should even want to) attain the kind of sureness characteristic of, say, a scientific community. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis's latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis's work was "contraband" because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock's drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting's false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience. [ABSTRACT FROM AUTHOR]

In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso's early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l'oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with "primitive" authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis. [ABSTRACT FROM AUTHOR]

Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are 'surprising', 'innovative', and 'fresh', celebrating the external perspective they bring to such collections. But contemporary art's relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production. [ABSTRACT FROM AUTHOR]