Combining a range of content with self-reflexive examination by scholars and practitioners, this edited volume interrogates the contemporary significance of the avant-garde. Rather than focusing on a particular region, period, or movement, the contributors bring together case studies to examine what constitutes the avant-garde canon.

Preservation, Radicalism, and the Avant-Garde Canon aims to investigate radical art in order to further critical thinking about the avant-garde. The editors have fully conceptualized the book and skillfully chosen well-versed scholars across disciplines. The objects of study are appropriate and the prose is readable. (Carol Martin, Theatre Journal, Vol. 69 (1), March, 2017)

Autorentext

Rebecca Ferreboeuf is an honorary research fellow at Durham University, UK. Her research focuses on the French and francophone avant-gardes. She has published on women writers and artists of the avant-gardes; she is also the managing editor of Cahiers Laure, a journal dedicated to French writer, Colette Peignot.

Fiona Noble holds a PhD in Hispanic Studies and Film and Visual Culture from the University of Aberdeen, UK. She has published on depictions of the body in Salvador Dalí, on cinematic representations of children in post-Franco Spain, and on intercultural lesbian relationships in contemporary Spanish cinema.

Tara Plunkett is a Lecturer in Spanish at University College Dublin. Her research focuses on Spanish and Latin American artists' use of the Surrealist aesthetic in works of self-fashioning. In May 2014, she curated the exhibition Out of the Ordinary: Contemporary Visions of the Avant-Garde, which was held at the Naughton Gallery, Queen's University Belfast, Ireland.

Klappentext
Preservation, Radicalism, and the Avant-Garde Canon interrogates the contemporary significance of the avant-garde. The contributors question the role of academia and exhibition cultures in redefining, reshaping, preserving, and transmitting the products of this historical phenomenon. Such contemporary scholarly and exhibition-based exploration institutionalizes avant-garde productions and, in doing so, threatens the potency of the avant-garde which relies on its marginal position. This volume brings together case studies to examine what constitutes the avant-garde canon.

Inhalt

PART I: STAGING THE AVANT-GARDES

1. Exquisite Encounters with the Avant-Gardes; Rebecca Ferreboeuf, Fiona Noble, Tara Plunkett
2. Telling the Telling of the Tale: A Dialogue; James Harding and Mike Sell
   PART II: CURATING THE AVANT-GARDES
3. Curating Problems: Expanded Cinema; Julian Ross
4. An Active Encounter: Tamás St. Turba's Czechoslovakia Radio1968 and Avant-Garde Objects in Contemporary Contexts; Ciara Hickey
   PART III: ON THE MARGINS OF THE AVANT-GARDES
5. Céline Arnauld's Poèmes à Claires-Voies (Openwork Poems); Ruth Hemus
6. Firmin Gémier, the Avant-Garde Populist; Kimberly Jannarone
7. Remedios Varo's Feminine, Spiritual Quest; Ricki O'Rawe
   PART IV: REREADING THE AVANT-GARDES
8. Reframing the Void: Duchamp's Readymade as a Lacanian Object; Robert Kilroy
9. Preserving Life Force: Antonin Artaud and Zhuangzi on the Body; Xiaofan Amy Li
10. Lee Miller's Dialogues with the Avant-Garde; Patricia Allmer
    PART V: CATEGORIZING THE AVANT-GARDES
11. Hearing Tsang Tsou Choi: Marginalia, Madness and a Hong Kong Avant Garde; Simon Soon
12. Acting in Front of the Camera: Avant-Garde Approaches to Staged Photography; Przemyslaw Strozek
13. Films for the Drawer: Post-War Czech Surrealism and the Impossible Encounter with Cinema; Jonathan Owen
    PART VI: CLOSING THE CURTAIN ON THE AVANT-GARDES?
    Epilogue: The Tale is Told?; John McCulloch