https://mirandajfriedman.com MIRANDA J FRIEDMAN Thu, 13 Oct 2022 14:29:28 +0000 https://mirandajfriedman.com en https://mirandajfriedman.com/Historical-Timeline-1 Tue, 04 Oct 2022 17:42:39 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Historical-Timeline-1 Time-Based Media Historical TimelineRelevant movements, eras, works and artists.1825 ▸ Avant-Garde Art<img width="855" height="524" width_o="855" height_o="524" data-src="https://freight.cargo.site/t/original/i/3e5b79c2656ada50f14f617652f60744a396111fbf001b076d143937b350d71a/Le-Salon-de-Refuse-1898-1-3.jpg" data-mid="154837134" border="0" data-scale="70" src="https://freight.cargo.site/w/855/i/3e5b79c2656ada50f14f617652f60744a396111fbf001b076d143937b350d71a/Le-Salon-de-Refuse-1898-1-3.jpg" /> 1863 ▸ Salon des Refuses, Paris, Exhibition of Rejected Art1896 ▸ Avant Garde Theatre 1909 - 1944 ▸ Futurism 1913-14 ▸&nbsp;Futurism expands into sculpture, architecture + music 1913 ▸ Luigi Russolo’s The Art of Noises (Futurist manifesto) 1919 ▸ Hannah Höch, “Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany” <img width="1400" height="1971" width_o="1400" height_o="1971" data-src="https://freight.cargo.site/t/original/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" data-mid="154837136" border="0" data-scale="47.5" src="https://freight.cargo.site/w/1000/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" /> <img width="796" height="776" width_o="796" height_o="776" data-src="https://freight.cargo.site/t/original/i/2ecb809d9b7447e4dcec4e282e352e1683ef4aef9f56661958b3df27c2283ea9/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-copy.jpg" data-mid="154837138" border="0" alt="1917 ▸ Marcel Duchamp, &ldquo;Fountain&rdquo;" data-caption="1917 ▸ Marcel Duchamp, “Fountain”" src="https://freight.cargo.site/w/796/i/2ecb809d9b7447e4dcec4e282e352e1683ef4aef9f56661958b3df27c2283ea9/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-copy.jpg" /> 1917 ▸ Marcel Duchamp, “Fountain” 1919 ▸ Hannah Höch, “Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany” 1928 - 1950 ▸ Surrealist Film1952 - 1970 ▸ Neo-Dada 1954 - 1972 ▸ The Gutai Group 1958 - Early 1970s ▸ Happenings Early 1960s - 1971 ▸ Viennese Actionism 1961 - 1980 ▸ Body Art 1965 ▸ Video Art <img width="960" height="637" width_o="960" height_o="637" data-src="https://freight.cargo.site/t/original/i/57d7d002c8602661ee2928baf01fab17b2f4dff725cd8dd2b3205c9a606446c6/Ubu-Roi-e.jpeg" data-mid="154857430" border="0" src="https://freight.cargo.site/w/960/i/57d7d002c8602661ee2928baf01fab17b2f4dff725cd8dd2b3205c9a606446c6/Ubu-Roi-e.jpeg" /> <img width="1000" height="600" width_o="1000" height_o="600" data-src="https://freight.cargo.site/t/original/i/fbe84954bfeac4cdf60f0cf7e0ec8d3ebb5d501a58b13771943d15ebeba194db/ID_BRUNNER_NOISE_AP_003.png" data-mid="154855457" border="0" src="https://freight.cargo.site/w/1000/i/fbe84954bfeac4cdf60f0cf7e0ec8d3ebb5d501a58b13771943d15ebeba194db/ID_BRUNNER_NOISE_AP_003.png" /> <img width="1400" height="1971" width_o="1400" height_o="1971" data-src="https://freight.cargo.site/t/original/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" data-mid="154837136" border="0" alt="1919 ▸ Hannah H&ouml;ch, &ldquo;Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany&rdquo;" data-caption="1919 ▸ Hannah Höch, “Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany”" src="https://freight.cargo.site/w/1000/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" /> <img width="773" height="800" width_o="773" height_o="800" data-src="https://freight.cargo.site/t/original/i/a2c0574b8c9fbccce2b8694a01695843d553a7e986d38d5d4d80356a4d40218e/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-1-copy.jpg" data-mid="154837139" border="0" alt="1917 ▸ Marcel Duchamp, &ldquo;Fountain&rdquo;" data-caption="1917 ▸ Marcel Duchamp, “Fountain”" src="https://freight.cargo.site/w/773/i/a2c0574b8c9fbccce2b8694a01695843d553a7e986d38d5d4d80356a4d40218e/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-1-copy.jpg" /> https://mirandajfriedman.com/Jafa-on-Duchamp Tue, 04 Oct 2022 16:38:51 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Jafa-on-Duchamp https://mirandajfriedman.com/2022_NewYorker_Steyerl_Emre Thu, 13 Oct 2022 03:55:29 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/2022_NewYorker_Steyerl_Emre https://mirandajfriedman.com/Lorraine-O-Grady-interviewed-by-Barbara-London Thu, 06 Oct 2022 17:39:30 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Lorraine-O-Grady-interviewed-by-Barbara-London https://mirandajfriedman.com/2022_WuBomb_Strafer Thu, 13 Oct 2022 14:29:28 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/2022_WuBomb_Strafer https://mirandajfriedman.com/2021_Segal-_FlashArt_Steyerl Thu, 13 Oct 2022 06:20:24 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/2021_Segal-_FlashArt_Steyerl https://mirandajfriedman.com/Cut-with-a-Kitchen-Knife Tue, 04 Oct 2022 14:43:19 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Cut-with-a-Kitchen-Knife Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany 1919 This pioneering collage by the Dada artist Hannah Höch uses clippings from newspapers and magazines to convey the absurdity and corruption of contemporary German culture. As Anahid Nersessia notes, for Höch "the collage is a highly suggestive act of bricolage, a piecing together of materials that come to represent the fragmented nature of the culture from whose debris they are drawn." The work exposes the cultural polarities and fissures of post-war Berlin. Among the clippings are recognizable images of artist Käthe Kollwitz, silent film star Pola Negri, and political thinkers and leaders, including Karl Marx and Vladimir Lenin. In the lower right corner, a small map of Europe depicts the countries where women have the right to vote. As art historian Heidi Hirschl Orley writes, Höch was "known for her incisively political collages and photomontages (a form she helped pioneer)", in which she "appropriated and recombined images and text from mass media to critique popular culture, the failings of the Weimar Republic, and the socially constructed roles of women." Höch's innovative use of photomontage to fundamentally challenge social, cultural, and aesthetic traditions made her a leading figure of early Dada, and an exemplary avant-garde figure in the more socially engaged sense of the term. In Berlin in 1920, she exhibited this work, as well as others, at the First International Dada Fair in 1920, where her work was acclaimed, even though her male colleagues had originally attempted to discourage her from participation. <img width="870" height="1088" width_o="870" height_o="1088" data-src="https://freight.cargo.site/t/original/i/2fd802ac3322ec2826e35bd2a892fee77c4b5d577a54d6539dd86d4b9463f182/HHcut-870x1088.jpg" data-mid="154820523" border="0" src="https://freight.cargo.site/w/870/i/2fd802ac3322ec2826e35bd2a892fee77c4b5d577a54d6539dd86d4b9463f182/HHcut-870x1088.jpg" /> Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, photomontage, 114 × 90 cm (Staatliche Museen, Berlin) The use of photomontage became widely influential and was adopted by subsequent movements throughout the 20th century, from Surrealism to Fluxus. As Heidi Hirschl Orley notes, "Höch's bold collisions and combinations of fragments of widely circulated images connected her work to the world and captured the rebellious, critical spirit of the interwar period, which felt to many like a new age. Through her radical experimentations, she developed an essential artistic language of the avant-garde that reverberates to this day." Cut paper collage - National Gallery, State Museum of Berlin Text from https://www.theartstory.org/definition/avant-garde/ https://mirandajfriedman.com/Avant-Garde-Theatre Tue, 04 Oct 2022 13:06:29 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Avant-Garde-Theatre Started: 1896 <img width="960" height="637" width_o="960" height_o="637" data-src="https://freight.cargo.site/t/original/i/57d7d002c8602661ee2928baf01fab17b2f4dff725cd8dd2b3205c9a606446c6/Ubu-Roi-e.jpeg" data-mid="154815209" border="0" src="https://freight.cargo.site/w/960/i/57d7d002c8602661ee2928baf01fab17b2f4dff725cd8dd2b3205c9a606446c6/Ubu-Roi-e.jpeg" /> Similar to other forms of avant garde, experimental or avant garde theater emerged as a reaction against a perceived general cultural crisis and it rejected both the age and the dominant ways of writing and producing plays. Renouncing bourgeois values and conventions, this fresh concept tried to introduce a different application of language and body in order to change perception and create a more active relationship with the audience. This started in 1896 with Alfred Jarry and his Ubu Roi play that overturned cultural rules, norms and conventions in a wild, bizarre and comic way. This piece had a revolutionary importance as it opened the door for modernism of the 20th century and influenced Dada, Surrealism and the Theatre of the Absurd. Traditionally perceived as passive observers, the role of the audience was first challenged with the rise of the avant garde. The audience became involved in a variety of ways, such as participating in the action on a highly practical level or being invited to feel a certain way in order to change their attitudes, values and beliefs. Celebrated director Peter Brook described this goal as ‘a necessary theater, one in which there is only a practical difference between actor and audience, not a fundamental one.’ Avant garde also aimed to change the social face of the theater, with performers becoming cultural activists of sorts. This was the case with the didactic agit-prop theater that aimed to make a certain moral or political statement and challenge the values and beliefs of the audience. Avant garde has also challenged and rejected the traditional hierarchical method of creating theater. With performers having more interpretative freedom, they were promoted to creative artists in their own right. Additionally, traditional conventions of space, movement, mood, tension, language and symbolism were altered. Text from:&nbsp;https://www.widewalls.ch/magazine/avant-garde-movement-theater-music-photography-contemporary-artTheatre image from https://flashbak.com/alfred-jarrys-ubu-roi-the-most-punk-play-of-all-time-372959/ <img width="1400" height="1971" width_o="1400" height_o="1971" data-src="https://freight.cargo.site/t/original/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" data-mid="154837174" border="0" alt="Hannah H&ouml;ch, German photomontage Dadaist + Avant-Garde artist (1889-1978) ▸ " data-caption="Hannah Höch, German photomontage Dadaist + Avant-Garde artist (1889-1978) ▸ " src="https://freight.cargo.site/w/1000/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" /> https://mirandajfriedman.com/Avant-Garde-Art Tue, 04 Oct 2022 14:24:08 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Avant-Garde-Art Started: 1825 Summary Originating in military terminology, the phrase "avant-garde" was adapted to apply to the work of artists - and then taken on by artists themselves - in order to indicate the socially, politically, and culturally revolutionary potential of much modern art. From the Realism of Gustave Courbet to the genre-defying multimedia experiments of the Fluxus movement, the term "avant-garde" has been associated with groups of artists - and sometimes single individuals - who sought to fly in the face of acceptable standards of artistic taste and to define new paradigms of creativity. In some movements this emphasis on the new was tied to a radical political and social agenda, a desire to tear down and replace social systems that were seen as somehow bound up in mainstream aesthetic standards. Text from theartstory.org/definition/avant-garde <img width="855" height="524" width_o="855" height_o="524" data-src="https://freight.cargo.site/t/original/i/3e5b79c2656ada50f14f617652f60744a396111fbf001b076d143937b350d71a/Le-Salon-de-Refuse-1898-1-3.jpg" data-mid="154818335" border="0" src="https://freight.cargo.site/w/855/i/3e5b79c2656ada50f14f617652f60744a396111fbf001b076d143937b350d71a/Le-Salon-de-Refuse-1898-1-3.jpg" />Salon des Refusés On May 17, 1863, Paris saw the opening of the Salon des Refusés, an exhibition of artworks that were rejected by the jury of the prestigious Paris Salon, held annually by the Académie des Beaux-Arts. The 1898 Salon de Refusés in Paris, the “salon of the rejected” established in 1863. It was the very first time the term avant garde, or avant-garde, was used in relations to the arts, and it marked the beginning of a cultural revolution. Renowned painters like Gustave Courbet, Édouard Manet and Camille Pissarro, cast aside by the critics and the public for not being conservative to their taste, organized their own shows throughout the French capital, featuring the now legendary paintings such as Déjeuner sur l’herbe and Symphony in White, No. 1. Attracting thousands of visitors, these artists announced a certain kind of rebellion that would come to influence an entire century and a half of art movements and like-minded artists, despite the ongoing ridicule they received from the arts elite. Avant garde art became a symbol of progress, exploration and innovation, of everything and anyone ahead of their time and ways of doing.&nbsp; Text + img from widewalls.ch/magazine/avant-garde-movement-theater-music-photography-contemporary-art Key Ideas &amp; Accomplishments Although the idea of the avant-garde suggests a preoccupation with breaking new ground, in almost all cases this did not reflect a standalone interest in novelty but was underpinned by a desire to give a clearer impression of "reality". For Gustave Courbet, that meant depicting the harsh working lives that were banished from the academic canvas; for the Impressionists it meant capturing the effects of light on the retina at the moment of perception; for the Constructivists it meant depicting the invisible scientific forces at work under the surface of visible reality. But in all cases, the desire to render reality in a newly precise way was the underlying aim. <img width="773" height="800" width_o="773" height_o="800" data-src="https://freight.cargo.site/t/original/i/a2c0574b8c9fbccce2b8694a01695843d553a7e986d38d5d4d80356a4d40218e/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-1-copy.jpg" data-mid="154834911" border="0" alt=" ▸ Marcel Duchamp's &quot;Fountain&quot; (1917) was also considered a Dadaist sculpture ▸ More on Dada (1916-1924)" data-caption=" ▸ Marcel Duchamp's &quot;Fountain&quot; (1917) was also considered a Dadaist sculpture ▸ More on Dada (1916-1924)" src="https://freight.cargo.site/w/773/i/a2c0574b8c9fbccce2b8694a01695843d553a7e986d38d5d4d80356a4d40218e/Marcel-Duchamp-The-Fountain-1917-thumbnail_webp-9999x9999-1-copy.jpg" /> Marcel Duchamp’s&nbsp;Fountain (1917) was also considered a Dadaist sculpture. More on Dada (1916-1924) ▸ The idea of the avant-garde has traditionally been beholden to two interpretations. On the one hand, it is seen as inextricably linked to a radical social or political program, so that transgressive art becomes the vehicle for transgressive social and political activity. On the other hand, avant-garde art has been seen as the domain of pure stylistic experiment, unfettered by social concerns of any kind. These two definitions have their own accompanying chronologies, hierarchies, and critical rubrics, which are often strikingly at odds with each other. The birth of the avant-garde was also the birth of the idea of "anti-art": that art could stake its value partly on undermining, subverting, or mocking pr-existing notions of artistic value. From the Impressionists, with their quick, loose brushwork, to Marcel Duchamp with his reaymades, avant-garde art always drew some of its impact from its evident disregard for existing norms, and its ability to generate an impression of non-art, even ugliness. Avant-garde art has, traditionally, never just been described as avant-garde, but has also been associated a particular movement: from Realism to Impressionism to Expressionism to Cubism and so on. Part of the avant-garde artist's identity and purpose has traditionally involved defining a clear and programmatic set of aims for their work, generally also associated with a tight-knit group of associates or comrades, which would form the basis for their creativity. As such, the origins of avant-garde art are also the origins of the contemporary notion of the art 'movement.' <img width="1400" height="1971" width_o="1400" height_o="1971" data-src="https://freight.cargo.site/t/original/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" data-mid="154834105" border="0" alt="Hannah H&ouml;ch, German photomontage Dadaist + Avant-Garde artist (1889-1978)" data-caption="Hannah Höch, German photomontage Dadaist + Avant-Garde artist (1889-1978)" src="https://freight.cargo.site/w/1000/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" />Hannah Höch, German photomontage Dadaist + Avant-Garde artist (1889-1978) ▸ Text from&nbsp;theartstory.org/definition/avant-garde https://mirandajfriedman.com/Hannah-Hoch Tue, 04 Oct 2022 14:57:21 +0000 MIRANDA J FRIEDMAN https://mirandajfriedman.com/Hannah-Hoch GERMAN PHOTOMONTAGE ARTIST Peak of career: 1919Born: November 1, 1889 - Gotha, Germany Died: May 31, 1978 - Berlin, Germany <img width="1400" height="1971" width_o="1400" height_o="1971" data-src="https://freight.cargo.site/t/original/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" data-mid="154821002" border="0" src="https://freight.cargo.site/w/1000/i/b2539daa13b329871669e9c5d74a2ff0be8b76016c2236621a861fd6a9cb32ef/012_Hannah_Hoch.jpeg" /> Höch was not only a rare female practicing prominently in the arts in the early part of the 20th century - near unique as a female active in the Dada movement that coalesced in her time - she also consciously promoted the idea of women working creatively more generally in society. She explicitly addressed in her pioneering artwork in the form of photomontage the issue of gender and the figure of woman in modern society. Her transformation of the visual elements of others by integrating them into her own larger creative projects evidenced a well-developed early example of "appropriation" as an artistic technique. AccomplishmentsHöch was a key progenitor of the self-conscious practice of collaging diverse photographic elements from different sources to make art. This strategy of combining formerly unrelated images to make sometimes startling, sometimes insightful connections was one that came to be adopted by many Dada and Surrealist artists of her era, and also by later generations of "post-modern" conceptual artists in other media, including sculptural installations, mixed media and moving images, as well as in still photography.Höch also helped expand the notion of what could be considered art by incorporating found elements of popular culture into "higher" art. She was one of many Dadaists to take advantage of such means, but she was both among the first, and one of the most self-consciously explicit in describing the goals and effects of doing so.A political iconoclast, she actively critiqued prevailing society in her work, and, implicitly, through many of her life choices. Her active interest in challenging the status of women in the social world of her times motivated a long series of works that promoted the idea of the "New Woman" in the era. <img width="870" height="1088" width_o="870" height_o="1088" data-src="https://freight.cargo.site/t/original/i/2fd802ac3322ec2826e35bd2a892fee77c4b5d577a54d6539dd86d4b9463f182/HHcut-870x1088.jpg" data-mid="154820941" border="0" alt="Hannah H&ouml;ch, &quot;Cut With the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany&quot; (1919-20) ▸" data-caption="Hannah Höch, &quot;Cut With the Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany&quot; (1919-20) ▸" src="https://freight.cargo.site/w/870/i/2fd802ac3322ec2826e35bd2a892fee77c4b5d577a54d6539dd86d4b9463f182/HHcut-870x1088.jpg" /> <img width="1500" height="2115" width_o="1500" height_o="2115" data-src="https://freight.cargo.site/t/original/i/4c3f7c41c182811b919f7e83e66031b391ede8d4e90224ea721c3583fce8e8f7/357345.jpg" data-mid="154822836" border="0" alt="Review of a 2016 exhibition of H&ouml;ch's appropriated Indigenous imagery which aims for a &quot;non-Eurocentric view of Dada&quot; ▸ Image: Hannah H&ouml;ch, &quot;Dada Puppen (Dada Dolls)&quot; (1916)" data-caption="Review of a 2016 exhibition of Höch's appropriated Indigenous imagery which aims for a &quot;non-Eurocentric view of Dada&quot; ▸ Image: Hannah Höch, &quot;Dada Puppen (Dada Dolls)&quot; (1916)" src="https://freight.cargo.site/w/1000/i/4c3f7c41c182811b919f7e83e66031b391ede8d4e90224ea721c3583fce8e8f7/357345.jpg" /> <img width="600" height="741" width_o="600" height_o="741" data-src="https://freight.cargo.site/t/original/i/d0ef102331202b1d75ab63de80e31299e5bdee3be68a7db9e00dd2ec7c7a807c/Carolee-Schneemann_book-cover.png" data-mid="154825708" border="0" alt="Book by James M. Harding: &quot;Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde&quot; (2012) ▸" data-caption="Book by James M. Harding: &quot;Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde&quot; (2012) ▸" src="https://freight.cargo.site/w/600/i/d0ef102331202b1d75ab63de80e31299e5bdee3be68a7db9e00dd2ec7c7a807c/Carolee-Schneemann_book-cover.png" /> <img width="2051" height="2560" width_o="2051" height_o="2560" data-src="https://freight.cargo.site/t/original/i/7b2de8ee287235d38cdcd6c868755cdfd9fd41af3d2613b48a8f3f0e6e5de412/Jafa-in-NewYorker.png" data-mid="154830229" border="0" alt="Arthur Jafa on Duchamp + the energy of African artifacts in white cube spaces ▸" data-caption="Arthur Jafa on Duchamp + the energy of African artifacts in white cube spaces ▸" src="https://freight.cargo.site/w/1000/i/7b2de8ee287235d38cdcd6c868755cdfd9fd41af3d2613b48a8f3f0e6e5de412/Jafa-in-NewYorker.png" /> Text from theartstory.org/artist/hoch-hannah/#pnt_2