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Topic: Formalism (art)

	Formalism - Wikipedia, the free encyclopedia
		Formalism is a school of thought in law and jurisprudence which emphasises the fairness of process over substantive outcomes.
		Russian formalism was a twentieth century school, based in Eastern Europe, with roots in linguistic studies and also theorising on fairy tales, in which content is taken as secondary since the tale 'is' the form, the princess 'is' the fairy-tale princess.
		In film studies, formalism is a trait in filmmaking, which overtly uses the language of film, such as editing, shot composition, camera movement, set design, etc., so as to emphasise graphical (as opposed to diegetic) qualities of the image.
	en.wikipedia.org /wiki/Formalism (678 words)

	Tate \| Glossary \| Formalism
		In general, the term formalism describes the critical position that the most important aspect of a work of art is its form, that is, the way it is made and its purely visual aspects, rather than its narrative content or its relationship to the visible world.
		Formalism as a critical stance came into being in response to Impressionism and Post-Impressionism (especially the painting of Cézanne) in which unprecedented emphasis was placed on the purely visual aspects of the work.
		Formalism dominated the development of modern art until the 1960s when it reached its peak in the so-called New Criticism of the American critic Clement Greenberg and others, particularly in their writings on Colour Field painting and Post Painterly Abstraction.
	www.tate.org.uk /collections/glossary/definition.jsp?entryId=109 (221 words)

	Formalism and Its Discontents (Site not responding. Last check: 2007-10-24)
		Art itself hardly enters into the discussion; and when it does, the works of art are interchangeable, impersonal, of as little value in and of themselves as a pile of plastic poker chips.
		Formalism, which urged people to look closely and to trust the immediate evidence of their eyes, was an artistic faith--one of the greatest of all artistic faiths.
		Formalism's passing, much like the passing of romanticism, is a destabilizing force, and we must respond to it with a thoroughgoing rethinking of the very nature of art and artistic experience.
	www.tnr.com /doc.mhtml?pt=YwyXIW4zT5SV0hKkjYWq3S== (1754 words)

	Art Monthly
		Russian Constructivism, Surrealism and Dada are all given as examples of avant-gardist attempts to integrate art with life; while John Heartfield's provisional and geopolitically specific 'anti-aesthetic', down to Martha Rosler's and Dan Graham's conceptually-based engagements with the political, all represent strategies of resistance to the predominant cultural/ideological forms.
		For Buchloh, it would appear that the genius and value of the modern lies in this art of resistance, but he is aware of the paradox this creates for an approach to art history that tends to see artistic practice as a reproduction of dominant ideological forms.
		Art Since 1900 is an impressive achievement of scholarship; it condenses a vast and complex subject into a readable book that does more than simply survey the field.
	www.artmonthly.co.uk /noble.htm (2344 words)

	Yve-Alain Bois - Whose formalism?
		The enemies of formalism usually keep away from abstract art for that very reason--but when they occasionally approach it, it is most often in a desperate attempt to retrieve the absent image (business as usual) and thus to negate the historical specificity of abstraction.
		Yet Pollock's pre-1951 art is not devoid of a certain kind of vulgarity, though this may not be the right term if we are to accept Clark's use of it (and I don't see why we should not).
		Thus, I would certain agree that Greenberg's criticism, which sees art as evolving in a continuous present, is militantly ahistorical, but such is not the case with the work of Riegl, with that of the Russian formalist school of criticism or, say, with Barthes's.
	www.egs.edu /faculty/bois/bois-whose-formalism.html (1837 words)

	Art criticism
		Art criticism is the process of analyzing, evaluating, and interpreting works of art in terms of form, content, and context.
		Stephen Pepper is a contemporary writer on the subject of art criticism, yet his four theories seem to satisfy traditions within art criticism while remaining applicable to the growing acceptance and interest of aesthetics in the twentieth century.
		Edmund Feldman suggests that art teachers do not recognize the amount of criticism going on in the classroom because of the notion that criticism must be done in a formal setting.
	www.personal.kent.edu /~hswarts/criticism.html (1114 words)

	The Rise and Fall of (Post-)Modern
		Drawing on parallels between art and language, artists in the late 1960's began adapting structural linguistics as a conceptual reference for assessing art's methodological integrity.
		Where the Modernist had looked at art as a medium of self-expression and formal innovation, the Structuralist utilized the object as a sign to be manipulated in the exploration of art's structural properties.
		Post-modern art still supports (and is supported by) the established hierarchy of universities, galleries, critics and art publications with measured innovations aimed at insuring recognition, tenure, monetary reward, etc..
	www.westland.net /VENICE/art/cronk/riseandfall.htm (2924 words)

	form
		Formalism in art is the notion that a work's artistic value is entirely determined by its form.
		Greenberg began by placing the value of modern art on form, conceiving of 'art form' as achieved by eliminating representational and illusionistic aspects of a work and replacing them with aspects of the work's internal identity.
		To be 'art' the work had to demonstrate a clear composition of parts in which shape is independent from, and clearly defined without, the object.
	humanities.uchicago.edu /faculty/mitchell/glossary2004/form.htm (876 words)

	In-Between Art and Politics
		Art (pre-modern) today, what we see in museums, galleries -- Greek painted pottery, medieval manuscript illuminations, and so on – were made in times and places when people had no concept of "art" as we understand the term.
		Art then began to become terms of style -- color, line, shape, space, composition -- conveniently ignoring or playing down whatever social, political, or progressive statements the artist had hoped to make in his or her work.
		Art is the name for a wide set of socially inherited tools that we might use to derive meaning from things.
	www.colostate.edu /Colleges/LibArts/kf/class/whaIsModArt.html (1264 words)

	Formalism (art) - Wikipedia, the free encyclopedia
		The concept of formalism can be traced as far back as Plato, who argued that 'eidos' (or shape) of a thing included our perceptions of the thing, as well as those sensory aspects of a thing which the human mind can take in.
		This led Greenberg to the conclusion that abstraction was the purest art of all.
		Some art critics argue for a return to the Platonic definition for form as a collection of elements which falsely represent the thing itself and which are mediated by art and mental processes.
	en.wikipedia.org /wiki/Formalism_(art) (880 words)

	pw: philadelphia weekly online
		The Institute of Contemporary Art's "Gone Formalism" is an exhibit of antisublime works by six out-of-town artists (two of whom, Liz Larner and Mark Grotjahn, are in the Whitney Biennial).
		With art made of scavenged or low-art materials like papier-mache, the show's sensibility is if not nihilistic then at least highly negative about the world we live in.
		Formalism of yore was chilly and impersonal, and so are these works.
	www.philadelphiaweekly.com /view.php?id=11728 (546 words)

	Literary theory
		Beginning in the late 1970s, formalism was substantially displaced by various approaches (often with political aims or assumptions) that were suspicious of the idea that a literary work could be separated from its origins or uses.
		Formalism is the concept that a work's artistic value is entirely determined by its form--the way it is made, its purely visual aspects and its medium.
		Though [modernism is] sometimes loosely used as a label for the dominant tendency of the twentieth-century arts, as ‘neo-classicism’ is for eighteenth- and ‘romanticism’ for nineteenth-century arts, ‘modernism’ raises problems crucial to the character and destiny of those arts.
	www.jahsonic.com /LiteraryTheory.html (1840 words)

	ArtLex's Art page
		At least art involves a degree of human involvement — through manual skills or thought — as with the word "artificial," meaning made by humans instead of by nature.
		Arts Education Partnership (formerly the Goals 2000 Arts Education Partnership) is an American national coalition of arts, education, business, philanthropic and government organizations that demonstrates and promotes the essential role of the arts in the learning and development of every child and in the improvement of America's schools.
		Partnership organizations affirm the central role of imagination, creativity and the arts in culture and society; the power of the arts to enliven and transform education and schools; and collective action through partnerships as the means to place the arts at the center of learning.
	www.artlex.com /ArtLex/Art.html (4779 words)

	Glossary of Terms: Formalism
		Formalism in the broadest sense refers to a type of criticism that emphasizes the "form" of a text rather than its content.
		Art takes that which is familiar and "makes it strange," slowing down the act of perception and making the reader see the world in new ways (think, for example, of how Cubist painting changes our perception of everyday objects and forces the viewer to work to reconstruct the image).
		While many have criticized some formalists' unwarranted exclusion of history and context from literary analysis, their sophisticated insights into the workings of narrative have been invaluable to a wide variety of critics and theorists, particularly those working in narrative theory.
	www.english.uwosh.edu /core/formalism.html (368 words)

	Whose formalism? - art criticism - Art History And Its Theories Art Bulletin, The - Find Articles
		This will lead me to respond to the charge that formalism equals a- or antihistory (a charge common since the days of Stalin's cultural commissar Andrei Zhdanov and carried to the present: it is the main argument of the "business-as-usual" critic quoted above).
		The enemies of formalism usually keep away from abstract art for that very reason - but when they occasionally approach it, it is most often in a desperate attempt to retrieve the absent image (business as usual) and thus to negate the historical specificity of abstraction.
		Whatever the case, Greenberg's own work provides ample arguments for the demonstration that, contrary to his claim, one is never a pure eye - that even one's most formal descriptions are always predicated upon a judgment and that the stake of this judgment is always, knowingly or not, meaning.
	www.findarticles.com /p/articles/mi_m0422/is_n1_v78/ai_18394851 (393 words)

	Haber's Art Reviews: Krauss and the Originality of the Avant Garde
		Her history of art demands a break with the past, and it refuses to accept predecessors who may have tried to force one by the sheer strength of talent and ego.
		The meaningfulness of art is not a trivial inference.
		Art acknowledges the weight of politics, institutions, and history upon the personal, the immediate, and the expressive.
	www.haberarts.com /krauss.htm (6681 words)

	MIDDLE SCHOOL ART FUNDAMENTALS WAIVER EXAM
		As they enroll in high school, advanced eighth grade art students may be accelerated in art by earning a waiver of the entry level high school art course, Art Fundamentals.
		The Art Fundamentals waiver is awarded on the basis of the successful completion of both a paper and pencil test (50%) and a portfolio evaluation (50%).
		Formalism – Art should be an interesting arrangement of elements / principles.
	www.rockwood.k12.mo.us /wildwood/ottoweb/artwaiverinfo.htm (1346 words)

	The Culture of Modernism
		According to Greenberg, the modernist work of art was essentially a critical discourse applying to earlier works of art, and its methods required it to avoid dependence upon any order of experience not given in the most essentially construed nature of its medium (quoted in Rorimer 1989:129).
		Although it is concerned with culture, rather than with the art sphere, and although it may not have been developed with any particular artistic movement in view, the Tartu school model of culture is perfectly apt to analyse this aspect of Modernism, as I have suggested elsewhere (see Sonesson 1992a).
		To my mind, rhetoric, as the art of transgressions, should be much broader: it should also include the occurrence, at time t2, of an identical event to the one occurring at time t1, when a different event is expected.
	www.arthist.lu.se /kultsem/sonesson/cult_mod_1.html (1969 words)

	BioMX and Formalism
		In the first phase of Russian Formalism form is synonymous to literariness and thus is granted an essential status in the definition of literature: actually it is what made literature literature.
		Formalism was born after the Einstein's revolution in physics: form and meaning are not separate.
		Bakhtin moves beyond formalism and stresses the importance of diachronic analysis in a materialist understanding of literature and with Volosinov criticises the linguists' obsession with dead languages and regards it as a symptom of their need to constitute a unity out of the multiple and heterogeneous.
	filmplus.org /biomx/formalism.html (3527 words)

	NGA: Themes in American Art: Glossary (Site not responding. Last check: 2007-10-24)
		Many of them began as newspaper illustrators and their art was also a chronicle of everyday urban activity.
		Constructivists viewed art as a scientific activity, an exploration of line, color, surface, and construction, and sought to apply their ideas to political and social issues.
		In the mid-nineteenth century, a growing middle class, the increasing capitalism of the art market, and the gradual secularization and industrialization of society all contributed to a radical shift in the role of art in society.
	www.nga.gov /education/american/aaglossary.htm (2159 words)

	Saturday Studios Parents Group
		ART FOR LIFE'S SAKE: Broader Perspectives: When we present works in which meaning and value are derived from cultural contexts, both within and outside our culture, we must find additional ways to promote understanding and appreciation.
		Contextualists view art as a visual communication system, requiring knowledge of a shared code that is transmitted from the maker of the object to the receiver.
		Though art for art sake and art for life sake seem opposed to one another, they are both valuable to art education.
	www.massarted.org /satstudio (704 words)

	The Pennsylvania Art Educator - Vol 2 - General Education in Art
		In classes where the students are majors in art education, they not only agree with it; they go on to suggest examples of works of art that show us the face of God, the beauty of love, or the purpose —and sometimes the lack of purpose —in present life.
		Another, equally pertinent example of such formalism in art education is an emphasis on teaching so-called "methods of inquiry" in art history, art criticism, and aesthetics.
		One of the most important issues in contemporary art education is the role of public schooling in either changing or reproducing inequalities of class, race, gender, and ethnicity in American society.
	www.kutztown.edu /paea/publicat/journal/vol_02/gen_ed.html (2125 words)

	McLuhan and Recent Art History
		Freud's influence on the Surrealists, and McLuhan's influence on American art of the 60's are akin.
		It was received within the art world's precincts as a particular strain of the overall "eschatological heave" (Mailer's coinage) which branded every aspect of 60-s culture ñ visual, political, theoretical and popular.
		Ergo, increasing emphasis on the medium ñ that is, the physicality of pigment and the qualities of surface ñ is registered as liberation from the declared restraints of representation, inference, and pictorial illusion.
	davidsonsfiles.org /McLuhanandRecentArtHistory.html (1457 words)

	ICA: Gone Formalism
		Gone Formalism addresses new ideas about formalism as they relate to contemporary art by a small group of artists.
		This group exhibition asks, "What is formalism now?" Even as it continues to define art objects by properties of line, color, and space, contemporary formalism is variously described as intuitive, psychologically resonant, metaphysical, self-conscious, or neo-romantic.
		Gone Formalism will demonstrate poles of formalism, from work that is deeply entrenched in the history of formalism, or for instance, sculptural practice, to work that might be considered the furthest extension of formalism.
	www.icaphila.org /exhibitions/past/formalism.php (570 words)

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