Publisher Description

It has often been argued that the arrival of the early-2 th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 9th and 2 th centuries.

The book's contributions, written by experts from some 2 countries, seek to answer the following questions:

• What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist "aesthetics of matter"?
• How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter?
• How were "immaterial" things such as concepts of time changed in this aesthetic moment?
• What "material meanings" were disseminated in the cultural transfer and translation of objects?
• How did subsequent avant-gardes deal with the "aesthetics of matter" in their response to historical predecessors?
  

Back Cover

This volume proposes an in-depth exploration of the materiality of art and writing in modernism and the avant-garde. The essays explore how the avant-gardes and modernism attempted to establish the material specificity of media and art forms as well as experimented with the hybridity of the materials of their multiple disciplines. The collection sheds light on the full range and import of the aesthetics of matter in avant-garde and modernist practice across all art forms from the 19th century to the present day.

Flap

This volume proposes an in-depth exploration of the materiality of art and writing in modernism and the avant-garde. The essays explore how the avant-gardes and modernism attempted to establish the material specificity of media and art forms as well as experimented with the hybridity of the materials of their multiple disciplines. The collection sheds light on the full range and import of the aesthetics of matter in avant-garde and modernist practice across all art forms from the 19th century to the present day.

Long Description

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book's contributions, written by experts from some 20 countries, seek to answer the following questions: What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist "aesthetics of matter"? How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? How were "immaterial" things such as concepts of time changed in this aesthetic moment? What "material meanings" were disseminated in the cultural transfer and translation of objects? How did subsequent avant-gardes deal with the "aesthetics of matter" in their response to historical predecessors?

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