Contenu du sommaire : Les avant-gardes

Les avant-gardes

• Le champ des avant-gardes - Annie Verger p. 2-40
  The Field of the Avant-gardes Working on sample of 50 artists selected on the basis of the consecration given by certain number of competing institutions this article sets out to distinguish the diffe rent tendencies of the avant-garde to draw up an inven tory of reception centres art galleries cultural centres etc.) and to constitute the Held of the cultural agents gal lery conservators art critics dealers etc.) in short to map the terrain of artistic celebrity By means of factorial analysis of correspondences it is possible to define the theoretical space of aesthetic political and technical dif ferences and bring to light the structure of the power re lations among all the agents who help to produce the definition of the avant-garde This brings out first op position between the pole of national success and the pole of international competition and second opposition be tween an avant-garde which has emerged in southern France and the Parisian avant-garde It can also be seen that over the last ten years the relative demobilization of left-wing committed artists has modified the power rela tions to the advantage of the agents who hold the mono poly of the dominant definition of the avant-garde and the artists who have deployed strategies aimed at the interna tional market
• L'âne qui peint avec sa queue - Daniel Grojnowski p. 41-47
  The Donkey that Painted with its Tail The Salon des Artistes indépendants founded in 1884 had no selection panel and was open to anyone who wanted to offer his work to the judgement of the public In 1910 young journalist Roland Dorgeles sought to denounce the lack of esteem which resulted from this liberalism He also wanted to ridicule the audacities of the new schools Fauvism Futurism and the oddities which the criticism of the day attributed to foreigners To mystify the ama teurs he exhibited Sunset over the Adriatic which the catalogue attributed to J.R Boronali and which court testimony published in magazine declared to have been painted by donkey reading of the press which comments on this art joke shows that the joke did not amuse everyone For it called in question the value that everyone attributes to works of art
• Man Ray, les surréalistes et le cinéma des années 20 - Norbert Bandier p. 48-60
  Man Ray les surréalistes et le cinéma des années 20 Dans le cadre une étude sur le groupe surréaliste entre 1924 et 1929 cet article interroge sur accueil plutôt ré servé que rencontrent les filins de Man Ray auprès des surréalistes Or celui-ci participe aux activités du groupe comme photographe et revendique une inspiration sur réaliste pour ses films étude de la carrière artistique de Man Ray cette époque révèle sa position dominée tant intérieur du groupe surréaliste que dans les mi lieux de art en général peintre sans succès reconverti malgré lui la photographie activité sans valeur artisti que reconnue il cherche faire une carrière de cinéaste avant-garde en se réclamant du surréalisme et plus particulièrement de automatisme prôné par les sur réalistes comme méthode de création Cette tentative échouera pour deux raisons elle va rencontre de la stra tégie de rupture esthétique purement littéraire des sur réalistes qui rejettent le cinéma art au profit du cinéma populaire per comme un support spontané de poésie elle revendique utilisation de automatisme au moment même où les surréalistes la remettent en cause

  Man Ray the Surrealists and 1920s Cinema In the context of study of the Surrealist group between 1924 and 1929 this article considers the somewhat reser ved reaction which Man films received from the Sur realists although Ray took part in the activities of the group as photographer and claimed Surrealist inspira tion for his films Study of Man artistic career in that period reveals his dominated position both within the Surrealist group and in art circles in general an unsuc cessful painter unwillingly converted to photography an activity without recognized artistic value he tried to make career as an avant-garde film-maker invoking Surrea lism and more particularly the automatism advocated by the Surrealists as method of creation This endeavour failed for two reasons it ran counter to the purely litera ry strategy of aesthetic break with tradition of the Surrea lists who rejected art cinema in favour of popular cinema which they saw as spontaneous support for poe try and it laid claim to use of automatism at the very moment when the Surrealists were calling it into question
• Négociation politique et rénovation de l'architecture - José Carlos Durand p. 61-77
  Political Negotiation and the Renovation of Architecture Le Corbusier in Brazil The history of Brazilian architecture consecrates the im portance that Le two visits to that country in 1929 and 1936 had in establishing modernism in Bra zilian architecture The effects of these visits were not manifested immediately but indirectly and belatedly through the international success of Le Bra zilian disciples His presence in Brazil coincided with period 1930-1945 of rapid and far-reaching political and cultural transformations which also affected the world of architecture educational renewal and development ex pansion linked to public works programme By exami ning this extraordinary period the article brings to light the importance of the specific work of political manage ment and negotiation which Le disciples then had to carry out in order to impose their conception of architecture this specifically political labour is related to the dependence of architecture on State support
• L'émoi, le mot, le moi - Louis Pinto p. 78-102
  émoi le mot le moi Pendant plusieurs années le Nouvel Observateur tenait une rubrique Le musée égoïste dans laquelle des indi vidus eminents étaient invités commenter une oeuvre de peinture ou de sculpture de leur choix travers ces textes relativement diversifiés on peut tenter appréhender les principes qui régissent les formes cultivées de discours sur art notamment en établissant les relations entre les caractéristiques du discours et celles de auteur Le vo lume et la forme du capital culturel détenu déterminent en grande partie non seulement ce un auteur choisit mais aussi sa fa on écrire Alors que les plus profanes entre eux se portent vers des biens sûrs et en tiennent aux limites de leur expérience individuelle les auteurs les plus légitimes commentateurs et créateurs prétendent accéder des biens plus rares et recourent des formes expression dotées une valeur universelle De même les catégories de perception et évaluation de oeuvre sont structurées par une opposition analogue avec une part parmi les auteurs profanes des critères expressé ment subjectifs et autre part parmi les auteurs les plus autorisés en matière de création des critères imperson nels qui sont associés la logique suprême de oeuvre

  Art and Personality For several years the weekly magazine Le Nouvel Obser vateur ran column called Le musée égoïste in which well-known personalities were invited to comment on painting or sculpture of their choice Through these rela tively diversified texts one can try to grasp the principles governing the cultured forms of discourse on art in par ticular by establishing the relationship between the cha racteristics of the discourse and those of the author The volume and form of the cultural capital possessed large ly determine not only what an author chooses but also his way of writing Whereas the most uninitiated among them tend to opt for solid values and keep within the limits of their individual experience the most legitimate authors whether commentators or creators claim access to rarer goods and resort to forms of expression endowed with universal value Similarly the categories of perception and appreciation of the work are structured by an analo gous opposition with on the one hand among the lay au thors overtly subjective criteria and on the other among the authors most authorized in matters of creation im personal criteria which are associated with the supreme logic of the work