Avant-garde

For other uses, see Avant-garde (disambiguation).The avant-garde (from French, advance guard or

The Love of Zero, a 1927 lm by Robert Florey

vanguard, literally fore-guard)[1] are people or worksthat are experimental or innovative, particularly with re-spect to art, culture, and politics.The avant-garde pushes the boundaries of what is ac-cepted as the norm or the status quo, primarily inthe cultural realm. The avant-garde is considered bysome to be a hallmark of modernism, as distinct frompostmodernism. Many artists have aligned themselveswith the avant-garde movement and still continue to doso, tracing a history from Dada through the Situationiststo postmodern artists such as the Language poets around1981.[2]

The avant-garde also promotes radical social reforms. Itwas this meaning that was evoked by the Saint Simo-nian Olinde Rodrigues in his essay L'artiste, le savantet l'industriel (The artist, the scientist and the indus-trialist, 1825), which contains the rst recorded use ofavant-garde in its now customary sense: there, Ro-drigues calls on artists to serve as [the peoples] avant-garde, insisting that the power of the arts is indeed themost immediate and fastest way to social, political and

economic reform.[3]

1 Theories

Marcel Duchamp, Fountain, 1917. Photograph by AlfredStieglitz

Several writers have attempted, with limited success, tomap the parameters of avant-garde activity. The Italianessayist Renato Poggioli provides one of the best-knownanalyses of vanguardism as a cultural phenomenon in his1962 book Teoria dell'arte d'avanguardia (The Theoryof the Avant-Garde). Surveying the historical, social,psychological and philosophical aspects of vanguardism,Poggioli reaches beyond individual instances of art, po-etry, and music to show that vanguardists may share cer-tain ideals or values which manifest themselves in thenon-conformist lifestyles they adopt; he sees vanguardculture as a variety or subcategory of Bohemianism.[4]Other authors have attempted both to clarify and to ex-tend Poggiolis study. The German literary critic PeterBrgers Theory of the Avant-Garde (1974) looks at theEstablishment's embrace of socially critical works of artand suggests that in complicity with capitalism, art as aninstitution neutralizes the political content of the individ-ual work.[5]

Brgers essay also greatly inuenced the work of con-temporary American art-historians such as the German

1

2 2 RELATION TO MAINSTREAM SOCIETY

Benjamin H. D. Buchloh (born 1941), while older crit-ics like Brger continue to view the postwar neo-avant-garde as the empty recycling of forms and strategies fromthe rst two decades of the twentieth century, otherslike Clement Greenberg (19091994) view it, more pos-itively, as a new articulation of the specic conditions ofcultural production in the postwar period. Buchloh, in thecollection of essays Neo-avantgarde and Culture Indus-try (2000) critically argues for a dialectical approach tothese positions.[6] Subsequent criticism theorized the lim-itations of these approaches, noting their circumscribedareas of analysis, including Eurocentric, chauvinist, andgenre-specic denitions.[7]

2 Relation to mainstream societySee also: Media culture and Spectacle (critical theory)

The concept of avant-garde refers primarily to artists,writers, composers and thinkers whose work is opposedto mainstream cultural values and often has a trenchantsocial or political edge. Many writers, critics and the-orists made assertions about vanguard culture during theformative years of modernism, although the initial deni-tive statement on the avant-garde was the essay Avant-Garde and Kitsch by New York art critic Clement Green-berg, published in Partisan Review in 1939.[8] As the es-says title suggests, Greenberg argued that vanguard cul-ture has historically been opposed to high or main-stream culture, and that it has also rejected the arti-cially synthesized mass culture that has been produced byindustrialization. Each of these media is a direct productof Capitalism they are all now substantial industries and as such they are driven by the same prot-xatedmotives of other sectors of manufacturing, not the idealsof true art. For Greenberg, these forms were thereforekitsch: phony, faked or mechanical culture, which oftenpretended to be more than they were by using formal de-vices stolen from vanguard culture. For instance, duringthe 1930s the advertising industry was quick to take vi-sual mannerisms from surrealism, but this does not meanthat 1930s advertising photographs are truly surreal. Onthe contrary, they express a style without underlying sub-stance. In this sense Greenberg carefully distinguishedtrue avant-garde creativity from the market-driven fash-ion change and supercial stylistic innovation that aresometimes used to claim privileged status for these man-ufactured forms of the new consumer culture.Various members of the Frankfurt School argued simi-lar views: thus Theodor Adorno and Max Horkheimerin their essay The Culture Industry: Enlightenment asMass-Deception (1944), and also Walter Benjamin inhis highly inuential "The Work of Art in the Age ofMechanical Reproduction" (1936).[9] Where Greenbergused the German word kitsch to describe the antithesisof avant-garde culture, members of the Frankfurt School

Max Horkheimer (front left), Theodor Adorno (front right),and Jrgen Habermas in the background, right, in 1965 atHeidelberg, West Germany.

coined the term "mass culture" to indicate that this bo-gus culture is constantly being manufactured by a newlyemerged culture industry (comprising commercial pub-lishing houses, the movie industry, the record industry,and the electronic media).[10] They also pointed out thatthe rise of this industry meant that artistic excellence wasdisplaced by sales gures as a measure of worth: a novel,for example, was judged meritorious solely on whether itbecame a best-seller, music succumbed to ratings chartsand to the blunt commercial logic of the Gold disc. Inthis way the autonomous artistic merit so dear to the van-guardist was abandoned and sales increasingly becamethe measure, and justication, of everything. Consumerculture now ruled.The avant-gardes co-option by the global capitalist mar-ket, by neoliberal economies, and by what Guy Debordcalled The Society of the Spectacle, have made contem-porary critics speculate on the possibility of a mean-ingful avant-garde today. Paul Manns Theory-Death ofthe Avant-Garde demonstrates how completely the avant-garde is embedded within institutional structures today, athought also pursued by Richard Schechner in his analy-ses of avant-garde performance.[11]

Despite the central arguments of Greenberg, Adorno andothers, various sectors of the mainstream culture indus-try have co-opted and misapplied the term avant-gardesince the 1960s, chiey as a marketing tool to publicisepopular music and commercial cinema. It has becomecommon to describe successful rock musicians and cele-brated lm-makers as avant-garde, the very word hav-ing been stripped of its proper meaning. Noting this im-portant conceptual shift, major contemporary theoristssuch asMatei Calinescu in Five Faces ofModernity: Mod-ernism, Avant-garde, Decadence, Kitsch, Postmodernism(1987), and Hans Bertens in The Idea of the Postmodern:A History (1995), have suggested that this is a sign ourculture has entered a new post-modern age, when the for-mer modernist ways of thinking and behaving have beenrendered redundant.[12]

Nevertheless, the most incisive critique of vanguardism

3as against the views of mainstream society was oeredby the New York critic Harold Rosenberg in the late1960s.[13] Trying to strike a balance between the insightsof Renato Poggioli and the claims of Clement Green-berg, Rosenberg suggested that from the mid-1960s on-ward progressive culture ceased to fulll its former ad-versarial role. Since then it has been anked by what hecalled avant-garde ghosts to the one side, and a chang-ing mass culture on the other, both of which it interactswith to varying degrees. This has seen culture become,in his words, a profession one of whose aspects is thepretense of overthrowing it.[14]

3 Examples

3.1 Music

Main article: Avant-garde music

Avant-garde in music can refer to any form of musicworking within traditional structures while seeking tobreach boundaries in some manner.[15] The term is usedloosely to describe the work of any musicians who rad-ically depart from tradition altogether.[16] By this def-inition, some avant-garde composers of the 20th cen-tury include Arnold Schoenberg,[17] Charles Ives,[18] IgorStravinsky,[17] Anton Webern,[19] George Antheil (inhis earliest works only), Alban Berg,[19] Henry Cow-ell (in his earliest works), Philip Glass, Harry Partch,John Cage, Morton Feldman, Richard Strauss (in hisearliest work),[20] Karlheinz Stockhausen,[21] EdgardVarse, and Iannis Xenakis.[17] Although most avant-garde composers have been men, this is not exclusivelythe case. Women avant-gardists include Pauline Oliv-eros, Diamanda Gals, Meredith Monk, and Laurie An-derson.[22]

There is another denition of Avant-gardism that dis-tinguishes it from modernism": Peter Brger, for ex-ample, says avant-gardism rejects the institution of artand challenges social and artistic values, and so necessar-ily involves political, social, and cultural factors.[23] Ac-cording to the composer and musicologist Larry Sitsky,modernist composers from the early 20th century whodo not qualify as avant-gardists include Arnold Schoen-berg, AntonWebern, and Igor Stravinsky; later modernistcomposers who do not fall into the category of avant-gardists include Elliott Carter, Milton Babbitt, GyrgyLigeti, Witold Lutosawski, and Luciano Berio, sincetheir modernism was not conceived for the purpose ofgoading an audience.[24]

3.2 TheatreMain article: Experimental theatre

Whereas the avant-garde has a signicant history in 20th-century music, it is more pronounced in theatre and per-formance art, and often in conjunction with music andsound design innovations, as well as developments in vi-sual media design. There are movements in theatre his-tory that are characterized by their contributions to theavant-garde traditions in both the United States and Eu-rope. Among these are Fluxus, Happenings, and Neo-Dada.

4 Avant-garde art movements Abstract expressionism Angry Penguins Aleatoric music Asemic writing Cinema pur COBRA Conceptual art Constructivism Creacionismo Cubism Dadaism De Stijl Drop Art Epic theater Expressionism Fauvism Fluxus Futurism Grati Gutai Happening Hungry generation Imaginism Imagism Impressionism Incoherents Land art

4 6 REFERENCES

Lettrisme

Les Nabis

Lyrical Abstraction

Mail art

Minimal art

Musique concrte

Neoavanguardia

Neo-Dada

Neoism

Neue Slowenische Kunst

Orphism

Pop art

Postminimalism

Prakalpana Movement

Primitivism

Rayonism

Serialism

Situationism

Stridentism

Superat

Superstroke

Suprematism

Surrealism

Symbolism

Tachisme

Theatre of Cruelty

Universalismo Constructivo

Viennese Actionism

Vorticism

5 See also Avant-garde Wikipedia book

Anti-art Bauhaus Experimental lm Experimental literature Experimental music Experimental theatre L'enfant terrible List of avant-garde artists Outsider art Russian avant-garde Vanguardism

6 References[1] Avant-garde denitions. Dictionary.com. Lexico Pub-

lishing Group, LLC. Retrieved 2007-03-14.

[2] UBU Web List of artists from Dada to the present dayaligning themselves with the avant-garde

[3] Calinescu, Matei (1987). The Five Faces of Modernity:Modernism, Avant-Garde, Decadence, Kitsch, Postmod-ernism. Duke University Press.

[4] Poggioli, Renato (1981). The Theory of the Avant-Garde.Belknap Press of Harvard University Press. ISBN 0-674-88216-4., translated from the Italian by Gerald Fitzgerald,2nd ed.

[5] Brger, Peter (1974). Theorie der Avantgarde. SuhrkampVerlag. English translation (University of MinnesotaPress) 1984: 90.

[6] Buchloh, Benjamin (2001). Neo-avantgarde and CultureIndustry: Essays on European and American Art from1955 to 1975. MIT Press. ISBN 0-262-02454-3.

[7] Harding, James M. Cutting Performances: CollageEvents, Feminist Artists, and the American Avant-Garde.University of Michigan, 2010.

[8] Avant-Garde and Kitsch

[9] The Work of Art in the Age of Mechanical Reproductionby Walter Benjamin

[10] Theodor W. Adorno (1963), "Culture Industry Reconsid-ered".

[11] Richard Schechner, The Conservative Avant-Garde.New Literary History 41.4 (Autumn 2010): 895913.

5[12] Calinescu 1987,; Bertens 1995.

[13] Rosenberg, Harold (1983). The De-Denition of Art: Ac-tion Art to Pop to Earthworks. Chicago University Press.ISBN 0-226-72673-8. Originally published: New York:Horizon Press, 1972; reprinted New York: Collier Books,1973.

[14] Dickie, George (SummerFall 1975). Kamarck, Edward(ed.), ed. Symposium on Marxist aesthetic thought:commentary on the papers by Rudich, San Juan, andMorawski. Arts in society: art and social experience: ourchanging outlook on culture 12 (2): 232.

[15] David Nicholls (ed.), The Cambridge History of AmericanMusic (Cambridge and New York: Cambridge UniversityPress, 1998), 12224. ISBN 0-521-45429-8 ISBN 978-0-521-54554-9

[16] Jim Samson, Avant garde, The New Grove Dictionaryof Music and Musicians, second edition, edited by StanleySadie and John Tyrrell (London: Macmillan Publishers,2001).

[17] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), xiv. ISBN 0-313-29689-8.

[18] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), 222. ISBN 0-313-29689-8.

[19] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), 50. ISBN 0-313-29689-8.

[20] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), xiiixiv. ISBN 0-313-29689-8.

[21] Elliot Schwartz, Barney Childs, and James Fox, Contem-porary Composers on Contemporary Music (New York:Da Capo Press, 1998), 379. ISBN 0-306-80819-6

[22] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), xvii. ISBN 0-313-29689-8.

[23] Jim Samson, Avant garde, Grove Music Online.

[24] Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Green-wood Press, 2002), xv. ISBN 0-313-29689-8.

7 Further reading Barron, Stephanie, and Maurice Tuchman. 1980.

The Avant-garde in Russia, 19101930: New Per-spectives: Los Angeles County Museum of Art [and]Hirshhorn Museum and Sculpture Garden, Smith-sonian Institution, Washington, D. C. Los Angeles,CA: Los Angeles County Museum of Art ISBN 0-87587-095-3 (pbk.); Cambridge, MA: Distributedby the MIT Press ISBN 0-262-20040-6 (pbk.)

Bazin, Germain. 1969. The Avant-garde in Paint-ing. New York: Simon and Schuster. ISBN 0-671-20422-X

Berg, Hubert van den, and Walter Fhnders (eds.).2009. Metzler Lexikon Avantgarde. Stuttgart: Met-zler. ISBN 3-476-01866-0 (German)

Crane, Diana. 1987. The Transformation of theAvant-garde: The New York Art World, 19401985.Chicago: University of Chicago Press. ISBN 0-226-11789-8

Daly, Selina, and Monica Insinga (eds.). 2013. TheEuropean Avant-garde: Text and Image. Newcas-tle upon Tyne: Cambridge Scholars. ISBN 978-1443840545.

Harding, James M., and John Rouse, eds. Not theOther Avant-Garde: The Transnational Foundationsof Avant-Garde Performance. University of Michi-gan, 2006.

Kostelanetz, Richard, and H. R. Brittain. 2000.A Dictionary of the Avant-Gardes, second edition.New York: Schirmer Books. ISBN 0-02-865379-3. Paperback edition 2001, New York: Routledge.ISBN 0-415-93764-7 (pbk.)

Kramer, Hilton. 1973. The Age of the Avant-garde;An Art Chronicle of 19561972. New York: Farrar,Straus and Giroux. ISBN 0-374-10238-4

Lger, Marc James. 2014. The Idea of the AvantGardeAnd What It Means Today. Manchester:Manchester University Press.

Maerhofer, John W. 2009. Rethinking the Van-guard: Aesthetic and Political Positions in the Mod-ernist Debate, 1917-1962. Newcastle upon Tyne:Cambridge Scholars Press. ISBN 1-4438-1135-1

Mann, Paul. The Theory-Death of the Avant-Garde.Indiana University Press, 1991.

Novero, Cecilia. 2010. Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art. (Univer-sity of Minnesota Press)

Pronko, Leonard Cabell. 1962. Avant-garde:The Experimental Theater in France. Berkeley:University of California Press.

Schechner, Richard. The Five Avant-Gardes or ...[and] ... or None?" The Twentieth-Century Perfor-mance Reader, 2nd ed., ed. Michael Huxley andNoel Witts (New York and London: Routledge,2002).

Schmidt-Burkhardt, Astrit. 2005. Stammbumeder Kunst: Zur Genealogie der Avantgarde. BerlinAkademie Verlag. ISBN 3-05-004066-1 [onlineversion is available]

6 8 EXTERNAL LINKS

Sell, Mike. The Avant-Garde: Race, Religion, War.Seagull Books, 2011.

Shishanov, V. A. 2007. Vitebskii muzei sovre-mennogo iskusstva: istoriia sozdaniia i kollektsii(19181941). Minsk: Medisont. ISBN 978-985-6530-68-8 Online edition (Russian)

8 External links The Blue Mountain Project, Historic Avant-GardePeriodicals for Digital Research, Princeton Univer-sity Library

79 Text and image sources, contributors, and licenses9.1 Text

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Theories Relation to mainstream societyExamplesMusicTheatre

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