Abstract
This paper examines how the avant-garde movement in jazz is important because it represents the departure from traditional forms of jazz into a more free-flowing form that allowed musicians to express themselves in a way that they had not done before. The writer argues that many jazz greats have contributed to this movement, and many critics feel that it is a shame to ignore the significance of the jazz avant-garde movement.

From the Paper
"Musicians that illustrated a departure from traditional jazz and regularly included bebop into their music are Ornette Coleman, Wilbur Barr, Ed Blackwell, and Billy Higgins. An interesting characteristic of bebop is the type of singing that generally accompanied songs. Much like scat singing, bebop singers would incorporate "something like chants and field hollers" into the music. This freedom allowed the musical instruments to carry the "entire rhythmic impetus of the music" (226). This type of rhythmic freedom and diversity is what Jones claims is the "valuable" legacy of bebop. Gottlieb claims that the Hard Boppers wanted to revolutionize jazz but did not go far enough. What was seemingly lost in the 1940s was rediscovered in the 1960s. Because rhythm and melody complement each other so closely in the latter style, the drummer and bass player were better able to play melodically. There was no longer a concern with continuing the beat in a song."

Tags:musician, expression

Abstract
The paper describes how Greenberg is trying to get the reader to realize the differing challenges and innovations avant-garde art represents. The paper discusses how he is trying to make the reader realize the difference between art that is being manipulated for governmental/elite class control-and the type of art that simply stands outside of the endless Marxist cycle of unoriginal art without real meaning or sense of self.

Tags:greenberg, article, studies

Abstract
This paper analyzes the abstract aesthetics and apolitical ideology in "Avant-Garde and Kitsch" by Clement Greenberg.

Tags:art, greenberg, kitsch

Abstract
The paper looks at how the art exhibitions in the 1970s featured "women's art" that was inherently bound up with the protest movement politics of that time. The paper discusses the revolutionary nature of these early exhibitions and the historical impact of the selection process used in constructing these exhibitions. It also mentions the fact that modern feminist art tends to focus on lesbian artists exclusively.

From the Paper
"Less significant today is the question of "who created it"
than what the creation means. Women artists with a radical feminist agenda are employing performance art much as Yoko Ono did some 35 or 40 years ago to publicize her own understanding of what it means to be a woman within a male-dominated social system and artistic milieu.
"Women Choose Women" was important not only because it was a "first." It was important because it demonstrated that women artists were no longer content to have males determine what works of theirs would be exhibited and how these exhibitions would be interpreted. Feminist art and scholarship have advanced significantly since that time."

Tags:confrontation, consciousness, orientation, protest, eroticism

Abstract
Discusses emergence of radical feminist art & militant feminist artists of the 1970s. Work of Nancy Ellison, Alice Baber, Judy Chicago. Significant exhibitions including (Women Choose Women. Erotic Art by Women. Sexual Politics). Response & confrontation of the new avant-garde art. Major themes of 1970s feminist art. Political and aesthetic aspects.

From the Paper
"Feminist Art and the Avant-Garde


It has been noted that the artist-driven nature of radical art exhibitions that reigned by the late 1960s, when museum and gallery curators were increasingly usurping the role of the impresario, museums themselves were replacing galleries as venues, and formerly subversive artists were becoming "tamed" by a ?society of mass consumption" (Altshuler, p. 220). While this statement is undoubtedly true, it is also true that with the emergence of radical feminist art and militant feminist artists in the 1970s, a new spirit of the avant-garde was born. The story of the avant-garde has typically been one of ?mutual support among a community and reception of art by a public, all participants enmeshed in systems of personal and economic relations (Altshuler, p. 8)."

From the Paper
"Clement Greenberg's enormously influential definition of modernism embodies a teleological approach to art that was rejected by the Pop artists, among others, who constituted part of the reaction to 'modernism' (or, at least, to Greenberg's modernism) that began in the 1960s. Greenberg made an initial distinction between art, which took in "advanced painting," and kitsch, the German word for "disposable, poorly-designed consumer objects" that had been flooding the world in the wake of the Industrial Revolution (Stiles 2). Such objects fed the popular taste for illusionist representation, sentiment, anecdote, and decoration that was, Greenberg believed, beneath consideration for true art. In his view the European avant-gardes of the pre-1940 era embodied this disdain for the popular and a concern with the higher purposes of art. Greenberg's theory of modernism..."

From the Paper
"During the Cold War, the prevailing Western view of Soviet art was that the Communists had driven out the once flourishing Russian avant-garde and replaced it with Socialist Realism. In fact, state-mandated Realist art was only imposed on artists by Stalin in the early 1930s. In the years before, during, and after the Revolution of 1917, the avant-garde of Futurists, Suprematists, Constructivists, Productivists and other movements saw their work as being appropriately, positively Revolutionary. As Bodine notes, "the avant-garde artists of Russia moved to the forefront of cultural activity as a result of their allegiance with the emerging theories of the political revolution."
After 1917, the political revolution welcomed the support of these avant-garde groups for the simple reason that the new government found them to be, "the only section of the artistic.."

Abstract
In this article, the writer notes that in every enterprise, someone has to be first and in the case of modern science fiction motion pictures, the "first" is widely acclaimed to be Stanley Kubrick's masterpiece, '2001: A Space Odyssey'. This paper provides an avante garde analysis of Stanley Kubrick that includes some of his most important works, such as '2001: A Space Odyssey' and 'A Clockwork Orange'. To this end, a biographical assessment of Kubrick is followed by a description of the man himself, his style, and the themes expressed in his films. A summary of the research and salient findings are presented in the conclusion. This paper includes a photograph.

Outline:
Review and Discussion
Conclusion

From the Paper
"It would seem that Kubrick was the right man at the right time with the right stuff to create these masterpieces, and it is difficult to determine whether they helped fuel the turbulent period in American history in which they were produced or if they were social reflections of what was taking place in American society at the time. Either way, the research was consistent in employing superlatives in describing Kubrick's work and it is safe to suggest that people will be watching his movies a hundred years from now. It would also seem safe to posit that Kubrick naturally recognized what humans would like to see if they had the opportunity to see it for themselves, whether they want to admit it or not. In the case of 2001: A Space Odyssey, for example, the director showed audiences what a happy and unexpected future might be like and how they might be a part of it. By sharp contrast, in his movie, A Clockwork Orange, Kubrick also showed audiences what the future might be like, but there was a definite "horror-show" difference involved."

Tags:director, cinema, motion, picture, movies

Abstract
An account of Jerzy Grotowski's experimental theatre--its history and development and its influence on the ethos of avant garde art more generally.

From the Paper
"In the last half of the ...th century, a number of avant-garde theatrical movements came to the fore and like a star, burned brightly. For the most part, they burned briefly too and faded, having exerted limited influence on the theory or practice of theatre. There were, however, two notable and not unrelated exceptions; the theatre of the absurd, which developed more or less parallel with the philosophy of existentialism as promulgated by such playwright-philosophers as Albert Camus and Jean-PaulSartre and which has been characterized as having brought..."

Tags:avant garde theatre, Poor Theatre, Laboratory Theatre, theatre theory

Abstract
This paper reviews two examples of avant-garde cinema, Italian neorealist filmmaker Vittorio De Sica's 'Bicycle Thief' and Spanish filmmakers Luis Bunuel and Salvador Dali's 'Un Chien Andalou'. According to the paper, avant-garde pushes the boundaries of what is accepted as the norm within definitions of art, culture and reality.

From the Paper
" For example, Lamberto Maggiorani, the actor who played Antonio, was in real life a factory worker in Rome ("Bicycle Thieves"). (In the aftermath of World War II, it is also likely, however, that this casting of "real people", instead of professional actors, was done to save money by not having to pay professional actors). The documentary-style camera work of De Sica's The Bicycle Thief, moreover, further increases for the audience the sense that the film is about true-to-life people and real situations, a characteristic also typical of post-World War II Italian neo-realist cinema. This is, also, an avant-garde filmmaking technique that resists, explicitly and implicitly, the commercialism of Hollywood, while offering, instead, a "purer", more "realistic" (and lower-cost) alternative to film audiences."

Tags:cinematic, techniques, story, commercial, marginal