He inspired me so much, one of the great avant-gardists.
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Socialist Realism became the official style and the avant-gardists either adjusted or became persona non grata.
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Which means he's not afraid, unlike most of electronic music's avant-gardists, to get a little silly sometimes.
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The Oracle, her debut for the Chicago avant-gardists International Anthem, is a pure expression in that lineage.
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His compositions are hardly more challenging than those of his contemporaries, avant-gardists such as Pierre Boulez and Karlheinz Stockhausen.
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Many multisyllabled words have been used to describe the Wooster Group, the long-reigning avant-gardists of downtown New York.
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These zippy avant-gardists praised Rousseau's style of innocence based, they presumed, on his inner conviction of the rightness of his private vision.
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Though there's echoes of other post-punk avant-gardists, there's a feeling on Hilja that I don't often hear captured—that of tentative optimism.
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As its artistic chief for eight years, Mr. Aimard has been useful in establishing connections with the international avant-gardists who are his friends.
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Avant-gardists like Anthony Braxton, Carla Bley and Jack DeJohnette convened there, as did musicians from abroad such as Naná Vasconcelos and Babatunde Olatunji.
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Within two months, Pierre Boulez and Nikolaus Harnoncourt, the two avant-gardists who more than anyone in the last half-century redefined classical music, were gone.
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This extraordinary exhibition of over 216 works transports us to the early, most innovative years of the Gutai group, the leading avant-gardists of postwar Japan.
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This extraordinary exhibition of over 70 works transports us to the early, most innovative years of the Gutai group, the leading avant-gardists of postwar Japan.
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Like most self-respecting avant-gardists, the Surrealists fomented their revolution in cafés and bars, yet, oddly enough, had little to say on the subject of gastronomy.
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The caliber of D.J.s is very high and includes European avant-gardists with large followings who might play E.B.M. (electric body music), industrial techno and Italo house.
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A French-born experimental filmmaker and artist based in New York, Losier has MoMA name-checking Jack Smith and Mike Kuchar, avant-gardists known for playing with camp.
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Many of the leading Parisian avant-gardists — Guillaume Apollinaire, Leonor Fini, Juan Gris, Max Jacob, Wifredo Lam, André Lhote, Kiki de Montparnasse, Man Ray — are conjured with fidelity and charm.
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Mr. Wuorinen was part of a generation of postwar modernists who found a new home in the academy, uncompromising avant-gardists who saw themselves as inheritors of the European tradition.
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BRANTLEY And when you think of how many American avant-gardists (Peter Sellars, Robert Wilson) have had to go to Europe to experience popular acclaim, it's all the more astonishing.
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Forced back to New York by World War I, the Stettheimers shortly began to entertain avant-gardists from both sides of the Atlantic in their uptown apartment, and Florine's Midtown studio.
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Rangely is a conservative town—Trump voters greatly outnumber Clinton voters—but it has welcomed the incursion of avant-gardists bearing didgeridoos, and some of the most dedicated sonic tinkerers are locals.
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He profiles five creators who embody the many facets of the movement, including Bloody Osiris, a stylist and mood-board inspiration, and Brick and Du of Bstroy, post-street-wear avant-gardists.
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León Tovar Gallery is offering a robust sampling of Latin American modernism featuring works by Venezuelan avant-gardists Carlos Cruz-Diez and Jesús Rafael Soto, Colombian artist Jorge Riveros, and Argentina-based Manuel Espinosa.
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In addition to his appreciation for grandes dames, he became a devotee of the unconventional, including punk, vogueing and drag, and designers like Alexander McQueen, John Galliano and the Belgian and Japanese avant-gardists.
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At Tramps in the 1980s, he produced "Tonka Wonka Mondays," where unknowns performed jazz, rock and world music for professional critics, and a house band headed by David Soldier backed up invited jazz avant-gardists.
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He still felt like a bit of an outsider in whatever scene he happened to be moving in—too "inside" for avant-gardists, too out-there for straight-ahead jazz groups, too jazzy for hip-hop.
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Advertise on Hyperallergic with Nectar Ads PARIS — Indefatigable theorist, poet, painter, filmmaker, playwright, megalomaniac intellectual, and avant-gardist of avant-gardists, Isidore Isou (2390-235) never fails to flummox the senses with the cumulative complexity of his work.
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Unlike Fairfield Porter, a writer and artist who formed friendships with the avant-gardists of his day but practiced a genteel painterly realism himself, Gorky continually pushed his own work into the crosscurrents of Modernism until his moment of disillusionment.
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One visitor was Khrushchev, whose irritation at being dragged to an event in which he had no interest — agricultural machinery was more to his taste — grew into incandescent rage when he beheld the work of Mr. Neizvestny and his fellow avant-gardists.
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Gugging's 1970 gallery show in Vienna had drawn the attention of Austrian avant-gardists like Arnulf Rainer, and following that groundbreaking event, Navratil went on to promote the artworks of some of his most notable patients, such as Johann Hauser (20123-1996) and Oswald Tschirtner (1920-2007).
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His re-emergence, in 2003, was welcomed by avant-gardists who went on to collaborate with him, among them the keyboardist Charlemagne Palestine, the Japanese noise musician Merzbow, the composer and guitarist Oren Ambarchi and the composer and saxophonist John Zorn, who released some of Z'ev's albums on his Tzadik label.
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Some settings eerily corroborate the manifesto's subject, as in "Scientist," where pronouncements of early-20th-century Russian avant-gardists are broadcast in Big Brother overtones perfect for the sci-fi exteriors and interiors, right down to an intimidating horizontal black plinth hanging in midair like one of the Suprematist Kazimir Malevich's levitating forms.
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Similarly, long ago, at a time when the ideas of the composer John Cage and other avant-gardists were in the air, she developed her own notion of "unfinished music," which, simply put, not only allows but also encourages listeners or other musicians to dive into her compositions and contribute to or otherwise interpret them.
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Unlike the avant-gardists of the last century, eager to lay waste to the past, Ms. Harrison treats masterpieces and mass media alike as simply building blocks, chosen for their personal significance and reworked at will; "Bears Ears," a wild clump of mauve polystyrene, is pierced with a USB flash drive loaded with Harun Farocki's films.
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According to the composer and musicologist Larry Sitsky, modernist composers from the early 20th century who do not qualify as avant-gardists include Arnold Schoenberg, Anton Webern, and Igor Stravinsky; later modernist composers who do not fall into the category of avant-gardists include Elliott Carter, Milton Babbitt, György Ligeti, Witold Lutosławski, and Luciano Berio, since "their modernism was not conceived for the purpose of goading an audience."Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Greenwood Press, 2002), xv. . The 1960s saw a wave of free and avant- garde music in jazz genre, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp, John Coltrane and Miles Davis.Anon. Avant- Garde Jazz. AllMusic.
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Julio Cortázar in 1967, photograph by Sara Facio. In 1950, another milestone arose: the New Humanism, a response to World War II and its aftermath. On one level are avant-gardists like Raúl Gustavo Aguirre, Edgar Bayley and Julio Llinás; on another, existentialists: José Isaacson, Julio Arístides and Miguel Ángel Viola. Further away are those who reconcile both tendencies with a regionalist tendency: Alfredo Veiravé, Jaime Dávalos and Alejandro Nicotra.
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Prestissimo (about 9 minutes) While obscure, Popov's Symphony No. 1 holds a unique place in Soviet musical history and influenced composers such as Dmitri Shostakovich and Alfred Schnittke. The symphony was written during a period of greater Soviet artistic freedom, inspired by avant-gardists such as Igor Stravinsky, Paul Hindemith, Béla Bartók, and composers from the Second Viennese School. Also of influence were the late-romantic symphonies of Gustav Mahler.
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Brignoni was born in Chiasso in 1903 but moved to Bern with his parents in 1907. He first studied art with Victor Surbek, then continued his studies at the Academy of Arts, Berlin. In 1923 he went to study in Paris at the Académie de la Grande Chaumière, where he met Alberto Giacometti, Picasso, and other avant-gardists, and where he was first exposed to African art. He worked at the Atelier 17 studio.
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Up until the time he left school, he composed little except hundreds of hymn-tunes, all of which he has since destroyed. While a student at Dartington in the early 1970s, he fell under the spell of the avant-gardists, and he turned out many works in graphic form. But it was only after talking with Alan Ridout and Herbert Howells in 1977, that Fish built a bonfire of all his scores, determined to start again.
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Conceptual art in the 1970s pushed even further. Robert Smithson, a California-based artist, made several films about his earthworks and attached projects. Yoko Ono made conceptual films, the most notorious of which is Rape, which finds a woman and invades her life with cameras following her back to her apartment as she flees from the invasion. Around this time a new generation was entering the field, many of whom were students of the early avant-gardists.
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He sold his first painting to collector and gallery owner Zoe Dusanne. In 1954 Ivey, Jack Stangle, Ward Corley, and Richard Gilkey were featured in an exhibition of Northwest avant- gardists at SAM. He formed friendships with fellow artists such as Guy Anderson, Leo Kenney, and Carl and Hilda Morris. In the late 1950s he opened the short-lived Artist's Gallery, Seattle's first co-operative artist-owned gallery, with Alden Mason, James FitzGerald, Margaret Tomkins, and others.
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Forgoing standard set times, musicians were allowed to play onstage for as long as they wanted to. In 1972, Mike and Sonny Canterino moved the Half Note Midtown to 149 West 54th Street, in what had a formerly been a carriage house. Roger Brousso, a record distributor from Connecticut, invested $240,000 in the new venue. Bookings included Budd Johnson and Buddy Tate, beboppers Al Cohn and Zoot Sims, avant- gardists John Coltrane and Charles Mingus and Wes Montgomery, Herbie Mann, and Cannonball Adderley.
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In the early 1990s Mraz was replaced by Peter Washington, whose heavier bass lines added urgency to the trio's sound.Watrous, Peter (September 3, 1992) "Tommy Flanagan, Surprises at His Finger Tips" The New York Times. p. C19. Flanagan's reputation gradually grew after he moved on from being primarily an accompanist: in a 1992 article, critic Leonard Feather suggested that "Flanagan is the pianist most likely to be named a personal idol by other jazz pianists, whether they be swing veterans or avant-gardists".
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In 1926, a number of avant-gardists including Joseph Kutter and Nico Klopp founded the Luxembourg secessionist movement which presented their Expressionist works at the annual exhibitions of the Salon de la Sécession until their aspirations were reconciled with the Cercle in 1930.Perrine Pouget, Alice de Lestrange, Jean-Paul Labourdette, Dominique Auzias: "Luxembourg", Petit Futé, 2008, p. 250 In 1954, a group of Abstract artists including Emile Kirscht, Michel Stoffel and Lucien Wercollier founded Iconomaques which brought modern art to Luxembourg through the important exhibitions they arranged in 1954 and 1959."Luxemburger Lexikon", Editions Guy Binsfeld, Luxembourg, 2006.
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Constanten developed piano pieces that sounded like three gamelan orchestras playing at once and created effects by setting a spinning gyroscope on the piano soundboard. Likewise, the rest of the band used a large assortment of instruments in the studio to augment the live tracks that were the base of each song, including kazoos, crotales, harpsichord, timpani, trumpet, and a güiro. Garcia commented that parts of the album were "far out, even too far out... We weren't making a record in the normal sense; we were making a collage." He also acknowledged the influence of Lesh's study of Stockhausen and other avant-gardists.
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Modotti and Weston quickly gravitated toward the capital's bohemian scene, and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera.
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Early 20th century leather book cover, with gold leaf ornamentation. The Arts and Crafts and Art Nouveau movements at the turn of the twentieth century stimulated a modern renaissance in book cover design that soon began to infiltrate the growing mass book industry through the more progressive publishers in Europe, London and New York. Some of the first radically modern cover designs were produced in the Soviet Union during the 1920s by avant-gardists such as Alexander Rodchenko and El Lissitzky. Another highly influential early book cover designer was Aubrey Beardsley, thanks to his striking covers for the first four volumes of The Yellow Book (1894–5).
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The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Composers such as Béla Bartók and, later, Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster, which feature in the work of many 20th- and 21st-century classical composers.
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The speeches he and Sașa Pană gave on the occasion, published by Orizont journal, were noted for condoning official positions of the PCF and the Romanian Communist Party, and are credited by Irina Livezeanu with causing a rift between Tzara and young Romanian avant- gardists such as Victor Brauner and Gherasim Luca (who rejected communism and were alarmed by the Iron Curtain having fallen over Europe).Livezeanu, p.252 In September of the same year, he was present at the conference of the pro- communist International Union of Students (where he was a guest of the French- based Union of Communist Students, and met with similar organizations from Romania and other countries).
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Academic critics thought Cabanel's portrayal of the classical Phaedra in a weak state was unbefitting, and his composition boring, especially in contrast to the luxurious setting. The avant-gardists completely rejected the academic style as a part of their struggle for artistic progression. Further, his public was either strictly academic or progressive, so Cabanel's in-between style appeared flat and uninteresting to his contemporaries. Even after his death in 1889, later critics looked back on Cabanel's works with disdain. Camille Mauclair in The Great French Painters described other of Cabanel's works from the Salon of 1880 as “unpleasant,” “without life or emotion,” and “pictures that do not take their proper place in the building.”Mauclair, The Great French Painters, 27-8.
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In the 1920s Smith struck out on her own, making a crusading passion her defining characteristic. With connections to Gertrude Stein through Carey Thomas, Smith soon became enamored of the circle of American avant-gardists in Paris at this time. Stein and Alice B. Toklas, while holding Carey Thomas in highest regard, appear to have held reservations about the motives of the younger Smith. When a prized recipe book went missing, suspicion fell on Smith. But Smith’s exuberant immersion in Paris social life and her family fortune made life less uncomfortable for many artists, composers, and intellectuals. Through previous Philadelphia connections to pianist Constantine von Sternberg and the patron Mary Louise Curtis Bok, Smith saw that composer George Antheil was supported to write his most famous work, the “Ballet Mécanique” in 1924.
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In the mid 1960s, having begun to exhibit his work illegally, he came under the radar of the KGB, and as a result his personal exhibitions were smashed up, and his paintings barbarically destroyed by members of the militia. But in spite of the bans, threats and hounding on the part of the KGB, Vladimir Lisunov continued to work, and in 1970–71 took part in several joint exhibitions in the studio of the artist Vladimir Ovchinnikov, which were also smashed up by members of the militia. In 1975, Lisunov planned to take part in an exhibition of avant- gardists in the "Nevsky Palace of Culture", but on the eve of the opening he was arrested by members of the KGB, and as a result he spent several days in a cell in the Bolshoy Dom on Liteyny Avenue. In this way, Vladimir Lisunov's participation in the exhibition was sabotaged.
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During the 1950s, the journal "Krugovi" (Circles, 1952–58) played a major role in the development of Croatian literature, led by a group of young writers born around 1930. Together they counteracted the policies of socialist realism and opened the door to wide-ranging influences from the rest of the world, from surrealism, Russian avant-gardists, existentialism to American so-called hard-boiled prose. Their ironic style was a symptom of post-war optimism fading, most likely influenced by American novelists and critics, who saw a basic poetic quality in irony. Among the writers of this generation, the most significant prose was written by Slobodan Novak, in his collections "Izgubljeni zavičaj" (Lost Homeland, 1955), "Tvrdi grad" (Hard City, 1961), "Izvanbrodski dnevnik" (Outboard Diary, 1977) and the novel "Mirisi, zlato i tamjan" (Scents, Gold and Incense, 1968) in which he dealt with the dilemmas of the modern intellectual, with a sense of existential absurdity.
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In the following years, she was featured in a number of important exhibitions among them The First Abstract Artists in Belgium: Tribute to the Pioneers in 1959 in Antwerp, Salon de femmes peintre et sculpteurs at the Musée d'Art Moderne de la Ville Paris, a big overview of solely her work in two rooms at the Palais de Beaux-Arts in Brussels, both in 1960, and an exhibition dedicated to the influence of Herwarth Walden and his gallery Der Sturm at the Nationalgallerie in Berlin in 1961 alongside Archipenko, Chagall, Delaunay, Gleizes, Goncharova, Jawlenksy, Kandinsky, Klee, Kokoschka, Léger, Macke, Marc, Schwitters and Severini. Being included with these artists which have by then been acknowledged as the important avant-gardists of the 20th century, must have been especially gratifying for Donas. While her work finally was internationally recognized, her health was declining and again she had financial struggles. She was forced to sell the majority of her work to Maurits and Suzanne Bilcke.
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Pablo Picasso, 1910 Portrait of Daniel-Henry Kahnweiler, Art Institute of Chicago Jean Metzinger, 1910, Nu à la cheminée (Nude). Exhibited at the 1910 Salon d'Automne. Black and white scan from Les Peintres Cubistes by Guillaume Apollinaire, 1913. Dimensions and whereabouts unknown. Albert Gleizes, 1913, Portrait de l’éditeur Eugène Figuière (The Publisher Eugene Figuiere), Musée des Beaux-Arts de Lyon French mathematician Maurice Princet was known as "le mathématicien du cubisme" ("the mathematician of cubism"). An associate of the School of Paris—a group of avant-gardists including Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel Duchamp—Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to the cubists at the Bateau-Lavoir during the first decade of the 20th century. Princet introduced Picasso to Esprit Jouffret's Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903), a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso's Portrait of Daniel- Henry Kahnweiler in 1910 was an important work for the artist, who spent many months shaping it.
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