| Description |
1 online resource (xii, 223 pages, 68 unnumbered pages of plates) : illustrations, maps |
| Contents |
Foreword -- Acknowledgments -- Antimodernism and artistic experience: an introduction -- Introduction: around and about modernity: some comments on themes of primitivism and modernism -- Performing the Native woman: primitivism and mimicry in early twentieth-century visual culture -- The colonial lens: Gauguin, primitivism, and photography in the fin de siècle -- Emily Carr and the traffic in Native images -- Introduction: staging antimodernism in the age of high capitalist nationalism -- Modernists and folk on the lower St. Lawrence: the problem of folk art -- Handicrafts and the logic of 'commercial antimodernism': the Nova Scotia case -- Bushwhackers in the gallery: antimodernism and the Group of Seven -- Introduction: modernity, nostalgia, and the standardization of time -- Artisans and art nouveau in fin-de-siècle Belgium: primitivism and nostalgia -- Van Gogh in the south: antimodernism and exoticism in the Arlesian paintings -- Plays without people: shadows and puppets of modernity in fin-de-siecle Paris -- Primitivism in Sweden: dormant desire or fictional identity? |
| Summary |
Antimodernism is a term used to describe the international reaction to the onslaught of the modern world that swept across industrialized Western Europe, North America, and Japan in the decades around the turn of the twentieth century. Scholars in art history, anthropology, political science, history, and feminist media studies explore antimodernism as an artistic response to a perceived sense of loss - in particular, the loss of 'authentic' experience.Embracing the 'authentic' as a redemptive antidote to the threat of unheralded economic and social change, antimodernism sought out experience supposedly embodied in pre-industrialized societies - in medieval communities or 'oriental cultures,' in the Primitive, the Traditional, or Folk. In describing the ways in which modern artists used antimodern constructs in formulating their work, the contributors examine the involvement of artists and intellectuals in the reproduction and diffusion of these concepts. In doing so they reveal the interrelation of fine art, decorative art, souvenir or tourist art, and craft, questioning the ways in which these categories of artistic expression reformulate and naturalise social relations in the field of cultural production |
| Bibliography |
Includes bibliographical references (pages 215-219) |
| Notes |
Print version record |
| Subject |
Primitivism in art
|
|
Modernism (Art)
|
|
Art, Modern -- 19th century.
|
|
Art, Modern -- 20th century.
|
|
Primitivism in art -- Canada
|
|
Modernism (Art) -- Canada
|
|
Art, Canadian -- 20th century
|
|
Art, Modern.
|
|
ART -- Criticism & Theory.
|
|
Art, Modern
|
|
Art, Canadian
|
|
Modernism (Art)
|
|
Primitivism in art
|
|
Canada
|
| Form |
Electronic book
|
| Author |
Jessup, Lynda, 1956- editor.
|
| ISBN |
9781442623101 |
|
1442623101 |
|
