By Allison Neal,
“Still Able to Make Sounds”: American Poetry on Record
Primitivisms in Dispute: Production and Reception of the Works of two Brazilian Artists in Paris in the 1920s
By Ana Paula Cavalcanti Simioni,
The condition of Paris as the main artistic capital from the end of the 19th to the mid-20th century caused it to attract an expressive contingent of foreign artists, and among those, dozens of Brazilian artists who were attracted by what was seen as the world capital of arts. They encountered, however, an extremely competitive universe, in which national origins were important components to recognition.
By Olivia Badoi, Global Institute for Research, Education, and Scholarship
Walking among a series of prints by the American wood engraver Lynd Ward (1905–85), Art Spiegelman was surprised to find himself transported from a chic Binghamton art gallery into a primordial forest. Though he had not left the gallery, Spiegelman was surrounded by networks of branches, trees, and woods reaching out at him from the prints on the wall. Within this gallery-turned-forest, Spiegelman gained a new appreciation of the power of Ward’s arboreal aesthetic. Singling out a particularly noteworthy print, Spiegelman describes “a panoramic treescape of a young man in shadows, groping and climbing through the dense neuronal wickerwork of dappled trunks and branches, carefully exploring and working his way through the maze of marks that surround him.”
By Matthew Hayward,
In an essay on Herman Melville, D. H. Lawrence describes the Pacific Islands as “a vast vacuum, in which, mirage-like, continues the life of myriads of ages back.” Modernist studies has yet to awaken from this dream of Oceania as the hazy antithesis of modernity, a place “not come to any modern consciousness”: although the tide is turning, the Pacific has typically been treated not as an active site of cultural production, but as a tropical backdrop for the adventures of the likes of Gauguin, Stevenson, and Melville (Lawrence, “Herman Melville,” 114). Uncalculated as this scholarly exclusion may be, it cannot but reinforce the sense that modernism and modernity demand an unmodern Other, figuring Pacific peoples in binaries that the new modernist studies has worked to undermine.