In the arts and in literature, the term avant-garde identifies a genre of art, an experimental work of art, and the experimental artist who created the work of art, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus how the artists who created the anti-novel and Surrealism were ahead of their times.
Outsider art is art made by self-taught or supposedly naïve artists with typically little or no contact with the conventions of the art worlds. In many cases, their work is discovered only after their deaths. Often, outsider art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.
Joseph Cornell was an American visual artist and film-maker, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker. He was largely self-taught in his artistic efforts, and improvised his own original style incorporating cast-off and discarded artifacts. He lived most of his life in relative physical isolation, caring for his mother and his disabled brother at home, but remained aware of and in contact with other contemporary artists.
The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
The Cornell University Library is the library system of Cornell University. As of 2014, it holds over 8 million printed volumes and over a million ebooks. More than 90 percent of its current 120,000 periodical titles are available online. It has 8.5 million microfilms and microfiches, more than 71,000 cubic feet (2,000 m3) of manuscripts, and close to 500,000 other materials, including motion pictures, DVDs, sound recordings, and computer files in its collections, in addition to extensive digital resources and the University Archives. It is the sixteenth largest library in North America, ranked by number of volumes held. It is also the thirteenth largest research library in the U.S. by both titles and volumes held.
Harold Foss "Hal" Foster is an American art critic and historian. He was educated at Princeton University, Columbia University, and the City University of New York. He taught at Cornell University from 1991 to 1997 and has been on the faculty at Princeton since 1997. In 1998 he received a Guggenheim Fellowship.
Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a particular focus on independent, experimental, and avant-garde cinema. The film archive and theater is located at 32 Second Avenue on the southeast corner of East 2nd Street, in a New York City historic district in the East Village neighborhood of Manhattan.
Olga Vladimirovna Rozanova was a Russian avant-garde artist painting in the styles of Suprematism, Neo-Primitivism, and Cubo-Futurism.
Claire Zeisler was an American fiber artist who expanded the expressive qualities of knotted and braided threads, pioneering large-scale freestanding sculptures in this medium. Throughout her career Zeisler sought to create "large, strong, single images" with fiber. Zeisler's non-functional structures were constructed using traditional weaving and avant-garde off the loom techniques such as square knotting, wrapping, and stitching. Zeisler preferred to work with natural materials such as jute, sisal, raffia, hemp, wool, and leather. The textiles were often left un-dyed, evidence of Zeisler's preference for natural coloration that emphasized the fiber itself. When she used color, however, Zeisler gravitated towards red.
Donald Kuspit is an American art critic and poet, known for his practice of psychoanalytic art criticism. He has published on the subjects of avant-garde aesthetics, postmodernism, modern art, and conceptual art.
Émilie Charmy was an artist in France's early avant-garde. She worked closely with Fauve artists like Henri Matisse, and was active in exhibiting her artworks in Paris, particularly with Berthe Weill.
291 was an arts and literary magazine that was published from 1915 to 1916 in New York City. It was created and published by a group of four individuals: photographer/modern art promoter Alfred Stieglitz, artist Marius de Zayas, art collector/journalist/poet Agnes E. Meyer and photographer/critic/arts patron Paul Haviland. Initially intended as a way to bring attention to Stieglitz's gallery of the same name (291), it soon became a work of art in itself. The magazine published original art work, essays, poems and commentaries by Francis Picabia, John Marin, Max Jacob, Georges Ribemont-Dessaignes, de Zayas, Stieglitz and other avant-garde artists and writers of the time, and it is credited with being the publication that introduced visual poetry to the United States.
Jeff Wassmann is an American artist, writer and theorist, currently living in Melbourne, Australia. His first novel, The Buzzard, was released in October 2012. Wassmann's art work incorporates assemblage, photography, web-based new media and aspects of culture jamming.
American artist Joseph Cornell (1903–1972) is justifiably best known for his boxes which constitute a singular contribution to the Surrealist canon and to the art of assemblage. However, he also pursued experimental film-making as an amateur beginning in the 1930s. Cornell was the principal pioneer of collage films in a purely artistic sense and, although the introduction of his films into the public forum was relatively late compared to when they were made, his work as a filmmaker has been widely influential.
Man on a Balcony, is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912. The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.
James Allan Curtis, known professionally as Diego Cortez, was an American filmmaker and art curator closely associated with the no wave period in New York City. Cortez was the co-founder of the Mudd Club, and he curated the influential post-punk art show New York/New Wave, which brought the then aspiring artist Jean-Michel Basquiat to fame.
Steven Watson is an author, art and cultural historian, curator, and documentary filmmaker.
Jikken Kōbō was one of the first avant-garde artist collectives active in postwar Japan. It was founded in Tokyo in 1951 by a group of artists working in various media. Until its disbandment in 1957, a total of fourteen members participated in the group. Members were typically in their twenties and hailed from different backgrounds – the group included not just visual artists and musicians, but also a printmaker, a lighting designer, an engineer, and others. The famous modern art critic Shūzō Takiguchi was the key mentor and promoter of the group.
The Passion of Sacco and Vanzetti is a 1932 painting series by Ben Shahn consisting of 32 gouache paintings of Sacco and Vanzetti.
