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"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern
Paul Gauguin ,
Ezio Bassani ,
Christian Feest ,
Sidney Geist ,
Donald Gordon ,
Jean Laude ,
Gail Levin ,
Jean-Louis Paudrat ,
Philippe Peltier ,
Laura Rosenstock ,
Alan Wilkinson ,
Evan Maurer ,
Richard Oldenburg ,
Jack Flam ,
Rosalind Krauss ,
Constantin Brancusi ,
Jacques Lipchitz ,
Amadeo Modigliani ,
Henri Moore ,
Alberto Giacometti , and
Kirk Varnedoe
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
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ASIN: 0870705342
Release Date: 2002-07-02 |
Book Description
"In 1906 tribal sculpture was ""discovered"" by 20th century artists; these objects had suddenly become relevant because of changes in the nature of modern art itself. These two volumes comprise the first comprehensive scholarly treatment in half a century of the crucial influence of the tribal arts--particularly those of Africa and Oceania--on modern painters and sculptors. In this visually stunning and intellectually provocative work, 19 essays confront complex aesthetic, art-historical, and sociological problems posed by this dramatic chapter in the history of modern art. The main body of the book contains a series of essays on primitivism in the works of Gauguin, the Fauves, Picasso, Brancusi, the German Expressionists, Lipchitz, Modigliani, Klee, Giacometti, Moore, the Surrealists, and the Abstract Expressionists. It concludes with a discussion of primitivist contemporary artists, including those involved in earthworks, shamanism, and ritual-inspired performances."
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James Rizzi: The New York Paintings (Art & Design)
James Rizzi
Manufacturer: Prestel
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Binding: Hardcover
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ASIN: 3791316680 |
Book Description
This book includes some 100 of the artist's paintings - the first step in the unique Rizzi 3D print - making process. A large percentage of these paintings have been produced especially for this volume, as has the jacket design, and some of these images may become the three dimensional limited edition Rizzi prints of the future. All Rizzi's intricate, light - hearted, and comical works reflect the artist's overwhelming enthusiasm and zest for life, and make it impossible to suppress a smile.
Book Description
This now classic study maps the profound effect of primitive art on modern, as well as the primitivizing strain in modern art itself. Robert Goldwater describes how and why works by primitive artists attracted modern painters and sculptors, and he delineates the differences between what is truly primitive or archaic and what intentionally embodies such elements. His analysis distinguishes the romanticism of Gauguin; an emotional primitivism exemplified by the Brücke and Blaue Reiter groups in Germany; the intellectual primitivism of Picasso and Modigliani; and a "primitivism of the subconscious" in Miró, Klee, and Dali. Two of Goldwater's related essays--"Judgments of Primitive Art, 1905-1965" and "Art History and Anthropology"--have been added for this new paperback edition.
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- A very good survey of Rousseau's art
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Henri Rousseau: Dreams of the Jungle (Pegasus Library Paperback)
Werner Schmalenbach , and
Henri Julien Felix Rousseau
Manufacturer: Prestel Publishing
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Henri Rousseau's Jungle Book (Adventures in Art)
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Henri Rousseau (Getting to Know the World's Greatest Artists)
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Henri Rousseau
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Henri Rousseau: Jungles in Paris
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The Blue Rider: The Yellow Cow Sees the World in Blue (Adventures in Art)
ASIN: 3791324098 |
Book Description
Rousseau's series of jungle painitngs are widely seen as the pinnacle of his achievement. The artist's work was and still continues to be the subject of controversy. This book answers many of the questions surrounding Rousseau's importance as an artist, reproducing in high-quality color his jungle paintings and examining them in a wider art-historical context.
Customer Reviews:
A very good survey of Rousseau's art.......2001-12-29
The layout and color reproductions are quite good, considering the book's modest size. Werner Schmalenbach comments on the artist's charming paintings, their historical background and influence on comtemporaries, as well as key events in his life. The text is illuminating, lively, and unpedantic-- as Rousseau would have liked it. Also, the price is right. .... Get it! (Even though the book is out of print, I have seen several copies in art museum shops.)
Congratulations to Prestel, the publisher, for making Pegasus Library books available to the wide public-- great art books which are kind to the wallet.
Book Description
This book is the first to bring together texts documenting the encounter between Western artists and writers and what has historically been called primitive art--the traditional, indigenous arts of Africa, Oceania, and North America. Beginning with the "discovery" of that art by European artists and writers early in the twentieth century, this anthology charts the evolving pictorial responses, artistic aspirations, aesthetic theories, and cultural debates that have developed from this encounter. Written by artists, literary figures, collectors, museum curators, and cultural critics, these essays--most of them never before translated or reprinted--show the dazzling range of issues elicited by the confrontation with primitive arts and cultures.
Primitivism designates not a specific movement or group of artists, but a persuasive notion crucial to twentieth-century art and modern thinking generally. Because the encounter between the West and primitive art took place at the height of Western colonialism, a number of racial and political issues come into play, either overtly or implicitly, in writings about both the art and the people who produced it. The contributions to this volume speak to each other in provocative ways, giving a unique overview of those issues.
Jack Flam provides an introduction to the book and brief outlines for each of its four sections. Also included are a coda of quotations from artists and critics from throughout the century; a chronology of events, exhibitions, and publications; an extensive bibliography; and over forty illustrations.
Book Description
In this acclaimed book, Torgovnick explores the obsessions,
fears, and longings that have produced Western views of the
primitive. Crossing an extraordinary range of fields
(anthropology, psychology, literature, art, and popular
culture), Gone Primitive will engage not just
specialists but anyone who has ever worn Native American
jewelry, thrilled to Indiana Jones, or considered buying an
African mask.
"A superb book; and—in a way that goes beyond what
being good as a book usually implies—it is a kind of gift to
its own culture, a guide to the perplexed. It is lucid,
usually fair, laced with a certain feminist mockery and
animated by some surprising sympathies."—Arthur C. Danto,
New York Times Book Review
"An impassioned exploration of the deep waters beneath Western primitivism. . . . Torgovnick's readings are deliberately, rewardingly provocative."—Scott L. Malcomson, Voice Literary Supplement
Customer Reviews:
A second to that!.......2005-05-28
After reading the preceding review of Mariana Torgovnick's book, I have to say that it is refreshing to see my views shared by another scholar. I agree that contemporary academic scholarship seems to be horribly behind the times. If I may be so bold to read between the lines of Andrew's comments, I might add that this is certainly the problem with post-colonial studies today. Post-colonialism, often synonymous with "multicultural studies" in academia, is quickly becoming a field whose views are revealing its own bias - and one that often shares a bias with colonialism. We are living in a time where the "us/them" mentality - whether argued to the negative or positive -
lacks the ability to see the complexity of the real issue in cultural studies, not to mention the issue itself. All that said, I certainly do not argue for imperialism as the alternative to post-colonialism; there is, _has been_ a more progressive arena of cultural studies that has become the new standard (for scholars) and new direction of cultural studies altogether. For the sake of brevity, see Homi Bhabha's _Location of Culture_ for a description of this direction that rids us once and for all of this base (and inherently imperialist) "us/them" rhetoric.
An embarrassment on many fronts.......2005-05-20
It is an undoubtable and continuous commonplace in scholarship that as ideas spread out from the core of its discourse, from that table of conversation at which are seated those who most fully know both the subject of discourse and the nature of the discourse itself, as the ideas are passed from that table to those standing around it, and to those others in the room, then out and into the world, there is with the dissemination a dissipation in understanding. This is how it always has been, and there is no way around it. From a certain point of view, a optimistic one, this is how is should be -- for this is how understanding is to be given and developed: fully among those most fully able to understand, and in acceptable measures among those whose ability to digest can not yet handle that heavy a meat. That is in a way how Plato speaks of it in the _Republic_, with the ubiquitous example of the cave -- an example which in contemporary times is coated with a great, ironic humor, in that most excerptings of the story removes it from its greater context, successfully performing the exact opposite of what the allegory is meant to teach: that those who see the shadows as shadows should go out and teach those who can not.
Unfortunately, in contemporary scholarship, we are faced with a related problem that may not be particular to our time but does seems rather overabundant. The above dissemination and dissipation of understanding occurs within academia just as it does in general society. Unfortunately, there is little if any effort in academia these days (especially as concerns cultural studies) to distinguish quality of scholarship -- though one would think academia would have a stake in policing its own production. And the two-way bridge that crosses the scholastic with the popular -- that of the populous giving strength-in-numbers to those ideas they find worthy of the day, and that of the academe responding to the pressure of that populist strength-in-numbers, whether for personal gain or in failing to recognize bias -- adds greater complication. There arises now and again texts -- and groups of texts -- that gain popularity for saying that which is wanted to be heard, and then gains a false validation of its ideas based primarily upon that popular reception. The ultimate result is a reversal of the lesson of the cave: those who (supposedly) can see the shadows sometimes listen too blindly to those who can not, and call the shadows reality once again.
Torgovnick's _Gone Primitive_ is such a text. It appeals to what is a rather popular sentiment among those levels of scholarship that are most in contact with (and influenced by) the beliefs (and desires to believe) of mass culture. It writes to an audience that knows what it wants to hear, and gives them exactly that. And as any orator worth their snuff can tell you, an audience eager to hear a thing does not need convincing. As such, academic rigor, argumentative strength, even factual basis becomes utterly unnecessary. Which is a good thing for Ms. Torgovnick. For if the popular audience would read with such, seeking in every conclusion a solid argument backing it up, _Gone Primitive_ would have found itself with the approbations it merits: that is, a very small, and very brief publication run.
This text is some of the worst scholarship I have ever come across in formally published work: to a degree that it is remarkable to me that she teaches -- with stature -- at Duke. The problems in the book are rampant. If I may offer a brief list. Her understanding of her primary theoretical sources are at best limited to being able to repeat their ideas. Jameson's _The Political Unconscious_ is very present throughout the book. But there is ample reason to believe her understanding of that text is limited to reiteration of (some of) its basic statements. She does not express an ability to understand the whys and wherefores of Jameson's ideas, nor the limits of their applicability: something evidenced in her applying him in blanket use to every critical situation. Unfortunately, much of what she is arguing against does not fall under the purview of Jameson's Marxist historiography: Jameson's ideas apply only to cultural groups: the individual does not exist in his arguments. But Torgovnick nonetheless openly applies the text to individuals and individual thought. Once you recognize this blurring of two distinct subjects into one (a blurring, because she is trying to speak to both subjects under a rubric that only covers one), her arguments become laughingly fallacious. Especially in that for many of her opponents that distinction is critical.
Which is not to say Torgovnick's arguments are on their own not frequently forced, over-wrought, or revealing of a tremendous lack of understanding of much of the primary material. Her analysis of _Heart of Darkness_ becomes at times more comedy than scholarship. But then, the majority of her arguments suffer from being trussed and viced by the necessity to reach her post-colonial conclusions. If you are capable of reading _Gone Primitive_ with any sense of academic distancing, you need not go far to see how the arguments are created to fit the conclusions. The description of Malinowski's book cover is a near immediate and riotous example: one I have quite successfully used as an example to the contrary in teaching first year college students how to think out an argument and the use of evidence to that end.
Even beyond that, I and my compatriots have found errors in sources, ideas taken out of context, basic terminology mis-used and mis-understood. E.g., she does not seem to understand the precepts of Expressionism -- or purposefully ignores it. For an understanding of the term completely dissassembles her analysis of William Rubin's discussion of "the expressionist misreading of primitive art" (126 ff.), and the broader, subsequent attack on Rubin and the MoMA _'Primitivism'_ exhibition. For those of you interested in rhetoric, Torgovnick's argument on these pages is a quality example of the manipulation of ideas to a desired result, and of a desired result manipulating the argument created to buttress it. Her book is replete with ad hominum arguments and appeals to emotion over argumentative rigor. When she writes of the writers of the MoMA brochure, "Obviously the writers of that statement recognized but sidestepped some of the political problems inherent in the exhibition" (122), she is diagnosing (in reverse) her own text: sidestepping scholarship, understanding, and basic knowledge to dwell solely on whatever political problems she can find.
The whole of her attack against Rubin and the MoMA exhibition catalog is exemplary of what is wrong with not only Torgovnick's work, but much of post-colonial and cultural studies, because of the utter fallaciousness of it. The quality of scholarship here is flat embarrassing, for Torgovnick, for Duke, and for the University of Chicago Press. My favorite moment: her preference to argue out of the exhibition's free brochure rather than its catalogue (in another demonstration of Plato's cave turned back). When she does use the catalogue, it's poorly. The exhibition's (and catalogue's) title: _'Primitivism' in 20th-century art_. Arguably its primary idea lies in the distinction between the terms `primitive' and `primitivism.' Yet not only does Torgovnick not successfully make or maintain that distinction in her book, she does not even get the definition to the latter term -- the term that anchors the title of the exhibition -- correct. That is perhaps a small thing to popular press. But elsewhere, it is horrendously bad scholarship.
It is to me no small thing that she avoids direct confrontation with the MoMA catalogue. Never mind that her presentation in _Gone Primitive_ gives me no reason to believe she could successfully engage the ideas therein. If she could, she would quickly discover her own ideas about primitivism have little ground, and her arguments against Rubin no ground whatsoever. In fact, they can barely be called arguments at all. They far more resemble table-pounding than anything else, or a preacher preaching to an zealously receptive choir. A case in point (and such cases are not hard to find): in a footnote Torgovnick says that "[Kirk] Varnedoe's contribution to _'Primtivism' in 20th-century Art_ were more favorably received than Rubin's, in part because Varnedoe wrote sympathetically about contemporary forms of primitivism, often practiced by women, including sculpture and earthworks (his wife is, in fact, involved in these movements." I love moments like this in texts, for how much they reveal. If I may direct your attention, notice how Varnedoe is better received not because of the merits of his ideas, but because they are more politically acceptable, more culturally inclusive. And such is _Gone Primitive_: politically acceptable, culturally inclusive, one big, post-colonial, united-colors-of-Benetton group hug. But knowledge? Understanding? And if you would look here, a quick note that even the political activities of Varnedoe's wife holds more concern than the ideas. And then, here, the humor and irony of it all: for if Torgovnick had read, and been able to understand, and had enough intellectual honesty to address Varnedoe's essay on Gaugin, she would see that by itself he utterly undermines the whole of her position. And please, don't trust me on that. Look for yourself. It is the MoMA catalogue that is the text that should be being heralded. And if you wade through the politically-correct sludge that it's been buried in -- nay, _hidden_ behind --, you will find just how ludicrous Torgovnick's work and politics actually is; not to mention a fantastic piece of scholarship.
Transcendental Homelessness.......2001-05-13
The issue of "Transcendental Homelessness" is at the core of this very expansive look at mechanism of power surrounding primitivism and the continuing effect it has on the discourse of "us" vs. "them". Through the mechanism of the gaze (or reverse gaze, I should say), Torgovnick reverses the microscope of the humanities on the well positioned narrative of the "savage" as constructed by Bronislaw Malinowski, Michel Leiris, Sigmund Freud, Edgar Rice Burroughs, Roger Fry, Joseph Conrad, D.H. Lawrence and William Rubin. With this inclusion of modernist stars it is easy for her to construct a critique on modernism, its colonial project and its lingering effects. The power of her inclusion leaves one to wonder what happened to those she left out. Make no mistake about it, the book is a well researched critique of primitivism as a production of the west through the construction of images of the primitive or savage - placing "them" in the position of the "Other". Ultimately, she comes around to the ever familiar theme of the effect on colonialism as a strategy to maintain much cultivated notions of masculinity, hence the reference to transcendental homelessness. Funny as it may seem, Torgovnick reverses the notion of homelessness not as a "going away" but rather a "coming home" an imagined return to the `universal' mankind of the primitive.
It is always welcome to get a second look, a different perspective. As a man in the already very gendered discourse called humanity, it is nice to examine things from a different point of view. As a case in point, one that hit home is Torgovnick's examinination of what "was the way that gender issues always inhabit Western versions of the primitive" (p. 17). Moreover, this same project includes the issue of voice and how, for example, Africa has no voice in the west until the Westerners give it one, the narrative of Africa in the west is then constructed through such unrepresentative lines as "Me Tarzan, you Jane". Make no mistake, her agenda here is decolonialization and feminist owing to a deconstructing mechanism of unmasking primitivism and identifying what might seem like a benign source of sign construction such as literature ad art - but make no mistake, the constructions and effects are as real as any other.
Allow me to just close by saying that this sense of "Otherness" is real and magnified through some very real and representative examples in art and is very much alive and is used (maybe unconsciously) as a way to marginalize and exploit. Primitivism is akin and part and parcel of the toolset of modernity and brought out into the open by the courageous Ms. Torgovnick. I am reminded of Edward Said and his project of deconstructing "Orientalism" and the misrepresentations of the Arab in western cinema and the negative effects resulting therefrom. Torgovnick's work is refreshing and poses very fundamental questions of how we construct the "us" by constructing images and notions of "them" or the "Other". After reading Torgovnick, I quickly ran to my shelf and pulled out my old copy of Conrad's "Heart of Darkness" and within the spaces of sexism and racism, Conrad took on a whole new dimension. Certainly not the most comprehensive and not the definitive piece on the subject, it is nevertheless compelling reading and thought provoking. Who knows, it may be destined for the dusty libraries of well read, well intentioned, liberal minded graduate students like myself but hopefully your reading this review is a small step in reversing that.
Miguel Llora
a reflexive analysis of Western society.......2000-04-19
This is a great book and a fascinating topic -- the way that Western peoples react to "the other," from rejection to outright cultural theft. Content deals with everything from art and design to popular media portrayals of the "primitive," to scholarly works such as Margaret Mead's Samoan study.
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The Sleep of Reason: Primitivism in Modern European Art and Aesthetics
Frances S. Connelly
Manufacturer: Pennsylvania State University Press
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Primitivism and Twentieth-Century Art: A Documentary History
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Primitivism in Modern Art (Paperbacks in Art History)
ASIN: 0271018275 |
Book Description
A comprehensive revision of our understanding of primitivism and its impact on modern art, centering on the invention of the idea of “primitive” art.
"Concentrating on the development of the intellectual concept of primitivism in thought and art, this study adds much to the discourse on the meaning of modernism—e.g., in its usage by art or architectural historians—and of the avant-garde. . . . It is a valuable addition to the literature stemming from R. Goldwater's Primitivism in Modern Painting (1938) and extending to the controversial Museum of Modern Art's New York exhibition “Primitivism in Twentieth-Century Art” (1984). —Choice
"Connelly's study is much needed and deserves a place in the literature of modernist primitivism. The Sleep of Reason will undoubtedly inspire further research into a field that has itself suffered from neglect on the periphery of academic scholarship."—Studies in the Decorative Arts
Art historians have in the past narrowly defined primitivism, limiting their inquiry to examples of direct stylistic borrowing from African, Oceanic, or Native American imagery. The drawbacks of such an approach have become increasingly apparent, the most problematic being its perpetuation of the notion that certain traditions are indeed “primitive.” Frances Connelly argues that “primitive” art was not a style at all but a cultural construction by modern Europeans, a cluster of concepts principally forged during the Enlightenment concerning the nature of the origins of artistic expression. She contends that, instead of the paintings of Gauguin, the publication of Vico's New Science in 1725 lies much closer to the origins of primitivism because it first articulated the essential framework of ideas through which Europeans would understand “primitive” expression.
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Discovering Child Art: Essays on Childhood, Primitivism, and Modernism
Manufacturer: Princeton University Press
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When We Were Young: New Perspectives on the Art of the Child
ASIN: 0691086826 |
Book Description
This book brings together thirteen distinguished critics and scholars to explore children's art and its profound but rarely documented influence on the evolution of modern art. It shows that children's art and childhood have inspired major works of art, served as central metaphors for artistic spontaneity and honesty, and provided a window into the fundamental human qualities explored by modern artists.
The volume complements editor Jonathan Fineberg's groundbreaking new book, The Innocent Eye (Princeton, 1997), in which he showed how many of the greatest masters of modern art collected and were directly influenced by children's drawings. Contributors here both expand on Fineberg's themes and take the study of children's art in new directions. They examine, for example, the influence of child art on such artists as Kandinsky, Klee, Larionov, and Miró; the diverse styles of children's art; the influence of Romantic ideas on perceptions of children's art; the conception of giftedness versus education in children's drawings; and the relationship between children's art and primitivism. The book offers unique glimpses into the working processes of great modern artists, presenting, for example, Dora Vallier's personal recollections of Miró and his creative process, and new documentation about the works of the Russian avant-garde. The essays draw on art theory, psychology, and the close study of individual works of art and written texts. Discovering Child Art will appeal to a wide range of readers, including art historians, psychologists, and art educators.
Contributors to the book are Troels Andersen, Rudolf Arnheim, John Carlin, Marcel Franciscono, Ernst Gombrich, Christopher Green, Josef Helfenstein, Werner Hofmann, Yuri Molok, G. G. Pospelov, Richard Shiff, Dora Vallier, and Barbara Würwag.
Customer Reviews:
An Excellent Primer.......2002-11-16
Fineberg's book is an exhaustive study that makes some obvious connections between children's art, and some not so obvious ones. Either way, the result is a compelling compendium of fascinating information. Not for the casual reader of art history specific topics. However, if you're into 20th century art history/theory, this book is required reading.
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