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Posts Tagged ‘Lee Ambrozy’

Viva Skype! Guest Speakers in HIDA’s Writing Art & Design Criticism Seminar

Posted on April 7, 2014, 5:43 am, by admin, under Uncategorized.

With four more weeks of the course still ahead of us, the Writing Art & Design Criticism seminar students have already had a chance to welcome several well-regarded art critics and art writers, including Lee Ambrozy, the editor-at-large for Artforum.com.cn and the editor and translator of Ai Weiwei’s Blog: Writings, Interviews and Digital Rants 2006–2009 (MIT Press, 2011 http://mitpress.mit.edu/books/ai-weiweis-blog). She is also one of […]

Tags: Ai Weiwei, ARTFORUM, Brown University, Coagula Art Journal, Hammer Biennial 2014, Hammer Museum, James Panero, Kermit S. Champa, Lee Ambrozy, Mat Gleason, Michael Ned Holte, The New Criterion
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Event Announcement: Lee Ambrozy’s Lecture on Ai Weiwei’s Audience at the Herberger

Posted on March 20, 2013, 1:45 pm, by admin, under Uncategorized.

ASU Herberger Institute for Design and the Arts will be hosting a talk about China’s most famous international artist, and its most outspoken domestic critic Ai Weiwei. It will take place this Thursday, March 21, at 3 pm in the Lower Level South Gallery of the ASU Art Museum. The presenter is Lee Ambrozy who is the […]

Tags: Ai Weiwei, ARTFORUM, ASU, HIDA, Lee Ambrozy
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Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art by Julia Friedman The great modernist eccentric Alexei Remizov was a “writers’ writer” whose innovative poetic prose has long since entered the Russian literary canon. Gradually expanding his working methods to make drawing an integral part of the writing process, during the 1930s and 1940s, Remizov created hundreds of albums that combined texts with collages and india ink and watercolor illustrations. In Beyond Symbolism and Surrealism, Julia Friedman provides the first extensive examination of the dynamic interplay between text and image in Remizov’s albums, revealing their coequal roles in his oneiric and synaesthetic brand of storytelling. (more) Northwestern University Press 7 x 10, 300 pgs, Trade Cloth ISBN 0-8101-2617-6 / $69.95



Consuming Russia: Popular Culture, Sex, and Society since Gorbachev Adele Marie Barker (Editor), Eliot Borenstein (Contributor), Julia Friedman (Contributor), Adam Weiner (Contributor), Elizabeth Kristofovich Zelensky (Contributor), Robert Edelman (Contributor) With the collapse of the Soviet empire in the late 1980s, the Russian social landscape has undergone its most dramatic changes since the Bolshevik Revolution in 1917, turning the once bland and monolithic state-run marketplace into a virtual maze of specialty shops—from sushi bars to discotheques and tattoo parlors. In Consuming Russia editor Adele Marie Barker presents the first book-length volume to explore the sweeping cultural transformation taking place in the new Russia. (more) Paperback: 488 pages Publisher: Duke University Press Books (June 10, 1999) Language: English ISBN-10: 0822323133 ISBN-13: 978-0822323136 Google Books: Link



“A Powerless Seeker: Merezhkovsky’s Romance as Life-Writing” by Julia Friedman In Symbolism, its Origins and Consequences. Edited by Rosina Neginsky. Cambridge: Cambridge Scholars, 2010 Hardcover: 665 pages Publisher: Cambridge Scholars Publishing New edition edition (October 1, 2010) Language: English ISBN-10: 1443823929 ISBN-13: 978-1443823920 The notion of the symbol is at the root of the Symbolist movement, but this symbol is different from the way it was used and understood in the Middle Ages and Renaissance. In the Symbolist movement, a symbol is not an allegory. The Belgian writer Maurice Maeterlinck defined its essence in an article that appeared on April 24, 1887, in L'Art moderne. He wrote that the notion of a symbol in the Symbolist movement is the opposite of the notion of the symbol in classical usage: instead of going from the abstract to the concrete (Venus, incarnated in the statue, represents love), it goes from the concrete to the abstract, from 'what is seen, heard, felt, tasted, and sensed to the evocation of the idea.' This volume attempts to give a glimpse into the power of the Symbolist movement and the nature of its fundamental and interdisciplinary role in the evolution of art and literature of the twentieth century. It records the studies of a group of scholars, who met and discussed these topics together for the first time in 2009. While illuminating the specificity of Symbolism in art, architecture and literature in different European countries, these articles also demonstrate the crucial role of French Symbolism in the development of the international Symbolist movement.



“The Writing-Drawing Continuum of Alexei Remizov,” by Julia Friedman In In Elective Affinities: Word & Image Interactions 6, 2008 Edited by Catriona McLeod, Véronique Plesch and Charlotte Schoell-Glass. Amsterdam and Atlanta: Rodopi Paperback: 422 pages Publisher: Rodopi (June 20, 2009) Language: English ISBN-10: 9042026189 ISBN-13: 978-9042026186 "Elective affinities" - a notion originally borrowed by Goethe for his 1809 novel of the same title from eighteenth-century chemistry - here refers to the active role of the two partners in the relationship of the pictorial and the verbal. Following the experimental modalities opened up by Goethe, the present volume is divided into three sections, which explore, respectively, how words and images can merge in harmony, engage in conflicts and contestations, and, finally, interact in an experimental way that self-consciously tests the boundaries and relations among verbal and visual arts. New perspectives on word and image relationships emerge, in periods, national traditions, works, and materials as different as (among many others) an installation by Marcel Duchamp and the manual accompanying it; the impact of artificial light sources on literature and art; nineteenth-century British illustrations of Native Americans; the contemporary comic book; a seventeenth-century Italian devotional manuscript uniting text, image, and music; Chinese body and performance art.



“Alexei Remizov’s Creative Act,” by Julia Friedman In Interfaces: Image Text Language, vol. 29, 2010 Edited by Maurice Geracht and Frédéric Ogée.