bluuebunny/crossref_metadata_2025 huggingface dataset:
Wittgenstein, Ludwig (1889–1951)
Authors: Taylor Tatum
Published: September 2018

Ludwig Josef Johann Wittgenstein was an Austrian philosopher whose work, largely on the philosophy of language, had far-reaching implications for modernist intellectual history and for enduring scholarly debate. In Logisch-Philosophische Abhandlung [Tractatus Logico-Philosophicus] (1921), the only book-length work published in his lifetime, Wittgenstein examined logic and ethics, as well as the nature of language and the boundaries of sense. The work earned him significant recognition, particularly among the group of scientists and logicians of the Vienna Circle. Wittgenstein’s early understanding of language was based on its relationship with—and more specifically, representation of—meaning and reality. According to the Tractatus, every word is the name of an object and that object is the word’s meaning. He held that complex words and meanings could be condensed to absolutely simple elements with definite meanings. These "simple names" represented similarly fixed and permanent "simple objects," and thus there was for Wittgenstein an eternal world of objects, a fixed substance beneath the changing surface appearances of the world. In his posthumously published Philosophische Untersuchungen [Philosophical Investigations] (1953), Wittgenstein appeared to repudiate many of his prior claims. He placed new emphasis on the context in which words are used, referring to different contexts of language-use as "language games" that render his previous notions of simple and complex objects relative.
Wundt, Wilhelm Maximilian (1832–1920)
Authors: Dosso Jill , Boudreau Jean-Paul
Published: September 2018

Wilhelm Maximilian Wundt, born in Neckarau (now Mannheim, Baden-Württemberg), was a German scientist who pioneered the field of experimental psychology. His best-known work, Grundzüge der physiologischenPsychologie [Principles of Physiological Psychology], published in two volumes (volume one in 1873 and volume two in 1874), is the first work to introduce the study of mental processes—psychology—as a new and distinct science. Moreover, Wundt was the first to build a laboratory for psychological research, launched at the University of Leipzig in 1879. Emphasizing the study of conscious experiences through a system of rigorous introspection—what he called "internal perception" [innereWahrnehmung]—Wundt broke with early 19th-century means of understanding mental processes through his focus on experimental study and the individual, parallel to modernist considerations of individual subjectivities and radical experimentation. A prolific writer, with an estimated 53,000 pages of published work, Wundt moved psychology from its traditional alignment with philosophy into a separate and empirical field of study with its own distinctly modern methods of investigating mental processes.
Abbott, Berenice (1898–1991)
Authors: Miller Sarah M.
Published: September 2018

Berenice Abbott was a photographer, theorist, teacher, and inventor who first learned photography as Man Ray’s studio assistant in Paris. In 1926, she established an independent portraiture studio in Paris, attracting clients from international avant-garde circles. She befriended French photographer Eugène Atget and, after his death, acquired thousands of his prints and negatives with help from Julien Levy. Through her advocacy, Atget’s oeuvre became a touchstone for avant-garde and documentary photography in Europe and the United States.

Returning to the United States in 1929, Abbott embarked on a study of New York City titled Changing New York (supported by the Federal Art Project 1935–1939), while developing unique theories of documentary photography and realism predicated on "communicative interaction". She taught photography at the New School for Social Research and was active in the Photo League, which comprised a number of New York photographers who had similar political, social, and aesthetic interests. Often collaborating with Elizabeth McCausland, she authored pioneering essays about the history and theory of photography including the pedagogical text, A Guide to Better Photography (1941).
Prudencio, Cergio (1955--)
Authors: Juarez Camila
Published: September 2018

Cergio Prudencio was a composer, director, researcher, and teacher. He studied Latin American Contemporary Music Courses at the Bolivian Catholic University and participated in the Venezuelan National Youth Orchestra. Prudencio studied under Carlos Rosso, Alberto Villalpando, Rubén Vartañán, Coriún Aharonian, and José Antonio Abreu. He also served as a resident composer in Australia (1996), Germany (2001), and Italy (2007), was awarded a Guggenheim Foundation Fellowship (2008/9), and has received assignments from the Perth Festival (Australia, 1996), the Pro Helvetia Foundation (Switzerland, 1997), the Donaueschingen Musiktage Festival (Germany, 1999), the TaG Ensemble (Switzerland, 2001), the Buenos Aires Contemporary Music Festival (2003), and the Klangspuren Festival (Austria, 2009).

Prudencio’s music establishes a dialogue between Andean and European avant-garde traditions. In 1980, Prudencio cofounded and directed the Experimental Orchestra of Indigenous Instruments (OEIN): an ideological, musical, and pedagogical project that asserts the Aimara music tradition from the Bolivian Altiplano by means of a contemporary expression. OEIN’s program links local materials and forms to procedural techniques from avant-garde contemporary music. The OEIN has achieved wide international renown, performing in Uruguay, Argentina, Brazil, Mexico and Colombia, as well as Germany, Austria, Switzerland, Australia, Italy, and Korea.
Abdullah, Basuki (1915–1993)
Authors: Cox Matt
Published: September 2018

Basuki Abdullah was the son of the painter and illustrator Abdullah Suriosubroto (Mas Abdullah), who taught him and a number of other artists their basic artistic skills. From 1933–1936, Basuki studied at the Academie voor Beeldende Kunsten in The Hague. Subsequently, he traveled to Paris before returning to Java. While he only completed three years of the five-year program in which he registered, his enrollment led to a portrait commission by Dr Plesman—the director of KLM Airlines—and launched his career as a portrait painter. Having painted the portraits of Imelda Marcos, President Sukarno and a large number of other royal and political persons, Basuki Abdullah is often regarded as Indonesia’s most successful portrait painter. His portraits, however, are often overshadowed by his landscape paintings which, in conforming to the formulaic composition of the Mooi Indies [Beautiful Indies] landscapes popular among colonial painters, have earned him a reputation as a conservative painter and colonial sympathizer. Such landscapes—readily identified by their depiction of rice fields, coconut palms, blue skies and the inclusion of volcanic mountains—have suffered terribly from their association with colonialism, but have recently increased in popularity among Indonesian collectors. This renewed interest stems from the understanding that Basuki’s career, while inconsistent with the adversarial posturing of Europe’s avant-garde, embodied a form of modernism reflecting the tension between class and national concerns in a period of dramatic political unrest.
Ai-Mitsu [靉光] (1907–1946)
Authors: Rosenbaum Roman
Published: September 2018

Ai-Mitsu, born Nichiro Ishimura, was the second son of a landowning family in Hiroshima. As an artist he was known for his Western-style paintings, his eschewing of the hieratic of sensō-ga (painting, 戦争画), and his pursuit of a variety of styles ranging from sōgen-ga (Chinese-style painting, 宋元画), to self-portraits and Surrealism. During the war he joined a group of self-portrait painters called the Shinjin Gakai (Association of New Painters, 新人画会), which was established in 1943. He was conscripted in 1944 and sent to the front in Manchuria. He died in 1946 in a hospital in Shanghai, following the surrender of Japan. While many of his works were destroyed in the atomic bomb explosion in Hiroshima, his most famous work, Me no aru fūkei (目のある風景, Landscape with an Eye, 1938), is currently held in the collection of the National Museum of Modern Art, Tokyo. In this painting of a shapeless landscape with an embedded eye, he succeeded in giving form to the thoughts and feelings that were generally suppressed during Japan’s Asia-Pacific war.
Satie, Erik Alfred Leslie (1866–1925)
Authors: Dorf Samuel N.
Published: September 2018

Erik Satie’s compositions, writings, and humor played an important role in many modernist movements of the twentieth century. Experimenting with simple forms, neoclassicism, mysticism, satire, and Dadaism, Satie collaborated with prominent artists, musicians, and institutions including Vincent Hypsa, Jean Cocteau, Pablo Picasso, Rene Clair, Francis Picabia, Claude Debussy, Man Ray, the Ballets Russe, the Ballets Suédois. Most recognized today for early his modal, pseudo-antique dances, the Gymnopédies and Gnossiennes, Satie also composed popular tunes, humorous piano works that mocked musical conventions, avant-garde ballets, as well as numerous mystical, irreverent, and nonsensical writings and drawings. His works and persona, sometimes whimsical, arcane, gothic, mystical, or Dadaistic inspired later generations of modernist artists and composers such as Les Six, Virgil Thomson, and John Cage.
Belkhodja, Néjib (1933–2007)
Authors: Gerschultz Jessica
Published: September 2018

Néjib Belkhodja was a Tunisian artist credited for leading Tunisian modern art in a new direction in the 1960s. He attended the Lycée Carnot and the École des Beaux-Arts in Tunis. Along with artists Nja Mahdaoui and Hédi Turki, Belkhodja was influential in his pursuit of abstraction and an "authentic" and "universal" visual grammar. To these ends, he formed the Groupe des Six in 1964. He rejected what he perceived to be the aesthetic limitations and folkloric dimensions of the École de Tunis, instead seeking to rearticulate tunisianité (Tunisian cultural patrimony), within an international language of modern art. Throughout his career, Belkhodja’s artwork united the geometry, signs, and symbols of the medina of Tunis with the forms and rhythms of Arabic script. Belkhodja’s focus on the medina led his work to be called "urban constructivism" by writer Ali Louati. In addition to paintings on canvas, he created mixed-media works and reverse-glass paintings in the 1970s and 1980s. Belkhodja exhibited widely in Tunis and abroad, participating in biennales in Paris, Palermo, and Alexandria, and received prizes in Tunisia, Italy, Egypt, and France. In 1991 Belkhodja and Iraqi artist Dia Azzawi exhibited together at the Galerie des Arts d’el Menzah in Tunis.
Serialism/Twelve-Tone Technique
Authors: Whittall Arnold
Published: September 2018

Serialism or the twelve-tone technique is a way of composing music that involves replacing major and minor scales with a fixed ordering of the pitches in the chromatic scale. This generates a structure that, in principle, remains in place throughout the composition in question.

Prior to the modernist age, the idea that a musical composition should establish a fixed order of pitches, intervals, rhythmic values, and dynamic values would have seemed intolerably restrictive and mechanical. The additional requirement that a composition must maintain specific serial ordering throughout, either through literal repetition or by using any of the possible transpositions of the chosen series (thereby changing the pitch sequence while retaining the interval sequence) would have reinforced such negative conclusions and connotations. In earlier music, such fixed ordering applied only when motifs or themes were stated and literally repeated. Earlier music generally featured an interest more in the transformation and development of multiple, contrasting themes than in the reiteration of a single musical idea. Music preceding modernism made use of a major/minor key system based on a ‘‘common practice’’ of harmonic identities and functions. While distinct from a composition’s thematic material, this gave composers a comprehensive set of musical procedures from which to create coherent thematic processes.
Direct Carving
Authors: Cribb Ruth
Published: September 2018

Developed in the 20th century, direct carving (taille directe in French) is a carving technique where the sculptor works with hammer and chisel that comes into direct contact with a block of stone or wood. Constantin Brancusi’s The Kiss (1907) is often cited as one of the earliest examples of direct carving. Though models were sometimes used, direct carving gave sculptors close and intimate contact with their materials. By using this direct method, sculptors rejected academic traditions where sculptors created clay models that were then scaled and transferred to marble by a workshop of technicians. Direct carving became a concept closely aligned with modernism as the 20th century progressed. In the United Kingdom (where the method gained significant traction due to the legacy of hand making of the Arts and Crafts movement), sculptures defined as modern were generally expected to utilize direct carving as their primary technique.

Direct carving allowed sculptors to reject the notion of stone as a representation of flesh; rather they professed themselves to be representing stone and remaining true to the material by self-consciously highlighting the act of manipulating stone. For most of those practicing direct carving, it became a way of knowing the material, usually a local one, and of working with that material to "reveal" the work of art within.
Douglas, Aaron (1899–1979)
Authors: Hill Catrina
Published: September 2018

Aaron Douglas was an African American artist and educator often referred to as the father of "Black Art." He was a leading figure of the artistic movement known as the Harlem Renaissance. Douglas is best known for his work of the 1920s and 1930s, which featured abstracted silhouettes combined with African tribal art and ancient Egyptian profile heads. European artists like Matisse, Modigliani and Picasso had been influenced by African tribal art for decades, but Douglas was among the first African American artists to blend African art with modern abstraction. Douglas produced illustrations for such magazines as The Crisis, Survey Graphic and Opportunity along with co-founding the short-lived Fire!! A Quarterly Journal Devoted to the Younger Negro Artists. He also illustrated books by several well-known literary figures, including Alain Locke, James Weldon Johnson, Langston Hughes, Countee Cullen, and Claude McKay. He is recognized for several public murals, including the Birth o’ the Blues at the Sherman Hotel in Chicago, Evolution of Negro Dance at the Harlem YMCA, and Aspects of Negro Life at the 135th Street Branch of the New York Public Library. As a professor of fine art Douglas encouraged generations of African American artists to create their own modern Black aesthetic.
Stockhausen, Karlheinz (1928–2007)
Authors: Toop Richard
Published: September 2018

For much of the 1950s and 1960s, the German composer Karlheinz Stockhausen was an absolutely seminal figure within the European avant-garde. By the mid-1950s, every new work of his seemed to open up new perspectives for radical composing: key notions and genres such as serialism, electronic music, variable forms, and graphic notation were all crucially affected by his work. Of all post-war composers, Stockhausen best exemplifies Chateaubriand’s dictum that ‘‘the original writer is not the one who imitates no one, but he whom no one can imitate’’; whereas other major figures had hosts of epigones, Stockhausen’s huge influence largely involved his way of thinking about composition, which was constantly evolving and re-forming, rather than attempted emulations. At the same time, by the late 1960s he was also something of a cult figure in the pop/rock world, as witness his appearance on the cover of the Beatles’ ‘‘Sergeant Pepper’’ album. Yet from the mid-1970s, Stockhausen increasingly (though never totally) withdrew from the public eye, working for just over twenty-five years on a massive cycle of seven operas collectively entitled Licht [Light], involving about thirty hours of music––probably the most ambitious (completed) project in the whole of Western art music.
Drissi, Moulay Ahmed (1924–1973)
Authors: Powers Jean Holiday
Published: September 2018

Moulay Ahmed Drissi was a self-taught painter who used oil paints to depict stylized versions of daily life. Drissi was interested not in straightforward representations, but in showing his coherent worldview, using minimal details in his images of people and landscapes. In 1945 he met painters from Switzerland who encouraged his interests and, from 1948 to 1956, he traveled extensively throughout Europe. His first exhibition was in 1952 in Lausanne, and he exhibited for the first time in Morocco in 1957 in Marrakech. That same year, Drissi exhibited his work at the second Alexandria Biennale, and was part of the foundational early exhibitions of Moroccan modern art including the first Paris biennale (1959) and the "Deux milles ans d’art au Maro" (Galerie Charpentier, Paris, 1963) exhibition. In 1957, Drissi founded the short-lived gallery L’Oeil Noir. He was the focus of an early monograph (1960) in a short series of Moroccan painters organized by Gaston Diehl.
Dupain, Maxwell Spencer (1911–1992)
Authors: Ennis Helen
Published: September 2018

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence.

The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.
Dweik, Taleb (1952--)
Authors: Sherwell Tina
Published: September 2018

Taleb Dweik was born in 1952 in Jerusalem and studied art at Hilwan University in Cairo. He was known for his paintings of the Palestinian landscape, in particular his picturesque and decorative images of the Holy City of Jerusalem executed in a painterly style combining Impressionism and Expressionism. His work characteristically removed traces of the hardship of the occupation of the city, and instead explored the beauty of its landscape and historical sites. He participated in group exhibitions locally and internationally, including the Sharjah Biennale, in the United Arab Emirates, in 1995 and 2003. He was the president of the Palestinian League of Artists from 1990 to 1996, and was the Dean of the faculty of fine arts at Al-Quds University from 2001 to 2003. He held the position of inspector for fine arts education in Jerusalem, and published a book on art education for secondary level students. From 2000 onwards he explored mixed-media techniques and collage, investigating relationships between the land, heritage, and childhood. In particular, he adopted a child-like style in his paintings to represent ideal images of the city filled with innocence and spontaneity, erasing traces of the harshness of occupation, and creating a city of bliss, beauty, and utopia.
Efflatoun, Inji (1924–1989)
Authors: Radwan Nadia
Published: September 2018

Inji Efflatoun was an Egyptian painter, feminist, and political activist. She completed her secondary education at the Lycée Français in Cairo where she was introduced to Marxism. At the beginning of the 1940s, she was one of the first women to attend the Faculty of Arts at Cairo University, where she joined the Egyptian communist organization (Iskra). During that time, she studied under the painter and filmmaker Kamel el-Tilmisani, and exhibited with the Egyptian Surrealist Group "Art and Liberty" (1942–1943). She later studied in the studio of the Swiss artist Margo Veillon, and with the painter Hamed Abdalla. In 1959, her political activities resulted in her being arrested. She was imprisoned for four and a half years and painted throughout her incarceration until she was released in 1963. Efflatoun’s paintings are strongly inspired by the social reality of the Egyptian working class, with a special focus on women and their daily struggle.
EXPORT, VALIE (1940--)
Authors: Zulueta Ricardo
Published: September 2018

Since the late 1960s, Austrian-born VALIE EXPORT has been an influential and controversial figure in feminist art history. Her artistic practice includes a variety of media such as performance, documentary, and narrative film, video installation, sculpture, photography, and theoretical writing. In 1967, she changed her name to VALIE EXPORT (in upper-case letters only), an alias suggested by the cigarette brand SMART EXPORT. EXPORT gained early international prominence for risqué guerrilla performances in which she used her own body to challenge the ways in which the female body is manipulated and eroticized in popular culture. In her renowned performance piece Tapp- und TastKino (Touch Cinema, 1968), she enclosed herself in a Styrofoam case with curtained openings intended to symbolize a film theater which concealed a movie screen actually represented by her bare chest. She walked around the streets of Vienna inviting passers-by to stick their hands through the drapes and feel her breasts, thus offering spectators a new film experience in which cinema was not to be experienced visually but tactually.
Thomson, Virgil (1896–1989)
Authors: Langlois Christopher
Published: September 2018

Virgil Thomson was born in Kansas City, Missouri. During his childhood Thomson’s creative and intellectual gifts did not go unnoticed, and with the assistance of a scholarship financed by the Mormon Church, he enrolled in Harvard in 1919. It is safe to say that Virgil Thomson’s prestigious career as a composer, conductor, and music critic for the New YorkHerald Tribune would have unfolded differently had he refused a trip to Paris as accompanist with the Harvard Glee Club in June 1921. The Glee Club toured Europe, accumulating an assortment of favorable reviews in the process. When the Glee Club arrived in Italy, its conductor, Archibald Davison, fell ill and turned the concert reins at Pesaro over to the young twenty-four-year-old Thomson for what would prove to be one of the Glee Club’s most exciting performances. Having survived the demands placed on an American orchestra touring the artistic capitals of Europe, Thomson’s Harvard precociousness was transformed virtually overnight into an esthetic of maturity that his subsequent life and career would continuously validate afresh.
Corm, Georges Daoud (1896–1971)
Authors: Rogers Sarah Ann
Published: September 2018

George Daoud Corm was a painter and francophone poet dedicated to Christian ethics and the classical tradition of European Humanism. He attended the Ecole Nationale Superieure des Beaux-Arts (1919–1921) before returning to Lebanon. His paintings, predominantly oil on canvas and pastel on paper, document the importance of portraiture in Lebanon throughout the first half of the 20th century. His subjects range from commissioned portraits of society members and royalty to anonymous figures, including several of fellaheen, or peasants. A significant number of self-portraits also remain intact. Corm’s formal language represents a transition from the conventions of the previous generation of Lebanese artists, as evidenced in his use of a lighter palette and looser brushwork. Corm’s oeuvre also includes a substantial number of nudes, the hallmark of European academic conventions and this generation of Lebanese artists. In 1966, he published his most well-known written work, "Essai sur l’art et la civilization de ce temps," in which he articulates an aesthetic position in the midst of a radically divided Cold War culture. Critical of both American consumerism and Marxist Communism, Corm advocates a return to a classical European tradition of Humanism, rooted in Christian ethics. Corm’s deep commitment to Humanism and Christianity is evident in his landscapes, which are infused with spirituality, other worldliness, and hidden symbolism.
Ghani, Yusof (1950--)
Authors: Abdullah Sarena
Published: September 2018

Yusof Ghani is a Malaysian artist who was significantly influenced by American Abstract Expressionism. Ghani’s first solo exhibition in 1984 was held at Anton Gallery in Washington, DC, where he showed his Protest series. However, this series failed to fit in with the work of other Malaysian artists who were at that time intent on developing a national identity for Malaysian art. Rather than acquiescing to the same theme, Yusof pursued his interest in "cultural dance," which he had explored in his MA thesis, eventually expanding it into the fundamental theme of his SiriTari (Dance Series) (1984–1992). Yusof Ghani’s works possess an astonishing fluidity that captures the exhilaration and tension of his subject matter. Heavily influenced by Jackson Pollock and Willem de Kooning, Ghani’s works are intense, powerful, and are usually noted for their spontaneous and ferocious brushstrokes. His works consist of abstract (or semi-abstract) forms and imageries, emphasizing formalistic experimentation in his use of colors, emphasis on the simplification of forms, and expressive qualities of his lines.
Guiragossian, Paul (1925–1993)
Authors: Rogers Sarah Ann
Published: September 2018

Born in Jerusalem to Armenian parents who survived the 1915 Armenian Genocide, Guiragossian eventually settled in Beirut after being evacuated from Palestine by the British. Working as an illustrator, Guiragossian began exhibiting during the 1950s. In 1956, he won first prize at a painting competition and received a scholarship from the Italian government to study at the Academy of Fine Arts of Florence. Two years later, Guiragossian held his first solo exhibition at the Galeria D’Arte Moderna La Permanente. In 1962, he received a second scholarship from the French government to study abroad at Les Ateliers des Maitres de l’Ecole de Paris. Most recognized for his depiction of the human figure, his portraits include a substantial number of compositions of his wife and children, self-portraits, and anonymous figures, while a significant number of pieces focus on the tender embrace of mother and child. Guiragossian’s distinctive style uses long, vertical brushstrokes to depict the bodies of his figures as abstracted and elongated, echoing the imagery of Byzantine and Christian icons. During the 1950s, Guiragossian began producing complete abstract paintings. Applying bright, bold color in blocks to the canvas, Guiragossian also left parts of the surface untouched, thus generating depth and movement through a creative utilization of negative space.
Guston, Philip (1913–1980)
Authors: Pocock Antonia
Published: September 2018

American artist Philip Guston is best known for the comic-strip-inspired paintings he created during the last decade of his life. Though they prompted scathing reviews when first exhibited in 1970, Guston’s late works became a precedent for 1980s Neo-expressionism.

Born Philip Goldstein to Jewish-Ukrainian immigrants in Montreal, Guston was raised in Los Angeles, where he attended the Otis Art Institute, as well as the Manual Arts High School with Jackson Pollock. Inspired by Italian Renaissance frescoes and Mexican muralism, Guston began his career painting political murals—first in California and Mexico, and later in New York as part of the WPA’s Federal Art Project. While teaching at the University of Iowa and Washington University in St Louis in the 1940s, Guston gained critical acclaim for his allegorical street scenes. In 1951, he moved to New York and began producing gestural abstractions in the manner of Willem de Kooning. His return to figuration in the late 1960s, prompted by the social and political unrest of the period, combines the iconography of his early paintings; specifically, these works feature hooded figures and brick walls, with an expressionist style marked by his signature short, thick brushstrokes.
Gutfreund, Otto (1889–1927)
Authors: Moseman Eleanor
Published: September 2018

Otto Gutfreund is recognized as the most important Czech sculptor of the early 20th century. Trained in Paris under Antoine Bourdelle, Gutfreund took an interest in Gothic art and Cubism. This exposure catalyzed his Cubist period (1911–1919) and he quickly emerged as the leader of Czech Cubist sculpture. In Prague in May 1911, Gutfreund became a founding member, treasurer (1912), and later chairman (1913) of Skupinavýtvarnýchumělců [The Group of Fine Artists] (1911–1914). He also contributed to their magazine UměleckýMěsíčník (1911–1914). Gutfreund returned to Paris in spring 1913 and again in April 1914. Upon the outbreak of World War I, he joined the French Army and was sent to the Foreign Legion. Gutfreund spent the postwar period of January 1919–July 1920 in Paris and made his last Cubist works. Upon returning to Prague, he shifted from Cubism to "Civilismus" (between 1920–1927), a style that celebrated the citizen of the newly founded Czechoslovak Republic and bore an affinity to the pan-European return to Classicism and Realism. At the end of his life he approached abstraction in sculptures that move from the soberness of Civilismus to experimental modernism.
Halim, Taheya (1919–2003)
Authors: Dwider Sarah
Published: September 2018

Taheya Halim was an artist who began her arts education as a student of the Syrian artist Youssef Taraboulsi. In 1943, she began working as an apprentice in the studio of the artist Hamed Abdallah. Halim traveled to Paris in 1949 to study painting formally at the Académie Julian, after which she returned to Egypt in 1951 and continued to work in Cairo. As an artist, Taheya Halim had a strong interest in Egyptian folk culture. She made frequent trips to the countryside in Upper Egypt and her paintings reflected Egyptian folk traditions. In 1958, Taheya Halim was granted a Guggenheim award for a work entitled Pieta.
Hamada, Shoji [浜田庄司] (1894–1978)
Authors: Ajioka Chiaki
Published: September 2018

Hamada Shoji was a modern Japanese ceramic artist who adopted the medium consciously as artistic expression, taking inspiration from folk traditions, particularly Okinawan pottery and British slipware. His career began in 1920s Britain where he accompanied the British potter Bernard Leach (1885–1979) to help establish a pottery workshop at St Ives, Cornwall. After returning to Japan, Hamada settled in Mashiko, a small village north of Tokyo, with its own folk pottery tradition. Leach and Hamada became icons of early studio pottery in the post-World War II Western world and their work is known collectively as "Anglo-Japanese style" or the "Leach-Hamada tradition." In Japan, Hamada’s work is associated with the Mingei folk art movement. His stoneware depicts an earthy naturalness and dynamism underpinned by technical mastery and refined taste. Leach described Hamada as the ideal studio potter in whom the head, hand, and heart were perfectly balanced. This echoed Hamada’s own words: "With the risk of exaggeration, I occasionally hear this voice in my work: leave the shape to the wheel, leave the drawing to the brush, leave the firing to the kiln." His Zen-like attitude is reflected in his works, which appear to embody the Mingei ideal in the modern world.
Hare, David (1917–1992)
Authors: Thyssen Esther T.
Published: September 2018

David Hare was an American sculptor and critic whose work was inspired by the imagination and the subconscious. During the early 1940s, when he began making sculpture, Hare associated with émigré Surrealists in New York, and from 1941 to 1944 edited the magazine VVV with André Breton, Marcel Duchamp, and Max Ernst. Hare befriended Jean-Paul Sartre in 1946, through whom he was introduced to Existentialism. Hare refused to follow trends and amalgamated Surrealist and Existentialist principles in his works about process and metamorphosis. Hare worked with steel, melting and pouring it into moulds, as can be seen in works such as Magician’s Game (1944), which melds objects and body parts as if continually becoming. He also made open, airy, welded sculptures trapping real space and often depicting landscape in a transient state. In 1948, together with Robert Motherwell, Mark Rothko and William Baziotes, Hare co-founded Subjects of the Artist, an informal art school with a lecture series, which served as precursor to The Club.
Hassan, Faiq (1914–1992)
Authors: Floyd Tiffany Renee
Published: September 2018

Faiq Hassan was among the pioneers of Iraqi modern art. Along with Jewad Selim and Hafidh al-Droubi, Hassan held a premier position in the development of the modern art movement in Iraq and had a major influence on succeeding generations.

Born in Baghdad, Hassan became interested in art at a young age. His talent was evident and he became the second recipient of a government scholarship to study art abroad. While studying at the Ecole Nationale Supérieure des Beaux-Arts in Paris, Hassan was exposed to European modernism and produced copies of masterworks. When he returned to Baghdad after receiving his degree in 1938, Hassan took a position at the Institute of Fine Arts as the director of the Department of Painting and Sculpture. In this position, Hassan was able to focus on the education of young Iraqi artists, and he went to great lengths to ensure that his students had adequate equipment and instruction.
Husseini, Jumana (1932--)
Authors: Sherwell Tina
Published: September 2018

Jumana Husseini was born in 1932 in Jerusalem. Her family was forced to leave Palestine during the 1948 war, re-settling in Lebanon where she met and married Ofran Bayazid in 1950. Between 1953–1956 Husseini studied political science at the American University of Beirut, where she discovered her interest in art. She went on to participate in multiple group exhibitions in Lebanon, the Middle East, and Europe, including at the Museum of Modern Art (Tokyo, Japan), The Barbican Centre (London, UK), and the Institute de Monde Arabe (Paris, France). In 1991 Husseini studied stained glass art at the Ecole Nationale Supérieure des Beaux-Arts in Paris.

Her early works give the impression of peering from a window at scenes of flowers, trees, minarets, and the cityscape of Jerusalem, each element of the compositions represented with icon-like reverence. Simplified architectural forms comprise a rather idealized city of memory, detailed in a lyrical style, as if frozen in time and void of deterioration. Over the years these series grew more simplified and serene. Following the devastating events of the war in Lebanon, Husseini shifted to abstraction, working in collage and layers of script, which appear as palimpsests. Her work is currently held in numerous private collections.
Isrowuthakul, Santi (1945--)
Authors: Chapakdee Thanom
Published: September 2018

Santi Isrowuthakul is an artist and activist who participated in the Artists’ Front of Thailand (AFT) (1974–1976). Born in Bangkok, Santi graduated with a master’s degree in Fine Art in 1975 from the Art Institute of Chicago, USA. While studying in Chicago he participated in several exhibitions and workshops, in which he created public mural paintings and mixed-media works. When he returned to Thailand in 1975, he used arts and cultural activities to encourage the student-led people’s movement, taking part in group exhibitions including The Bangkok Dice Group (1976) and The Tao Group (1976). He used simple materials including toilet paper, newspapers, wood, and marble to produce collages, and site-specific works aimed at provoking the viewer. Santi’s work reflects a radical ideology, which developed as a result of the country’s communist insurgency, the development of political consciousness among artists, and a growing interest in Socialist Realism, giving birth to works that satirized politicians, culture, and society. In 1976, Santi was elected chairman of the AFT, and co-organized an art exhibition around the Pramane ground (Sanam Luang) area to support the student-led movement against American military bases in Thailand during the Vietnam War. The AFT, under Santi’s leadership, created several politically motivated cultural and arts activities before the coup d’état on 6 October 1976. He lives and works as a freelance artist in Bangkok.
Jader, Khalid al- (1922–1988)
Authors: Floyd Tiffany Renee
Published: September 2018

Dr Khalid al-Jader was born in Baghdad, Iraq. He had a distinguished career as an Iraqi artist, scholar, and administrator throughout the mid-20th century. He gained degrees in both law and art by studying at the Institute of Fine Arts and the College of Law in Baghdad simultaneously. He then traveled to Paris in 1954 where he subsequently received a PhD in Islamic Art from the Sorbonne and joined the Salon de Paris. After returning to Baghdad, al-Jader held several prominent institutional positions, including deanship at the Institute of Fine Arts and the Academy of Fine Arts, which he helped to found. He was also the chair of the National Committee for Plastic Art with UNESCO. As an administrator, he was known to hold his students and employees to a high standard and was meticulous in his responsibilities.

Adding to this impressive résumé, al-Jader was also an active participant in several art groups, such as the Pioneers, the Impressionists, and the Society of Iraqi Plastic Artists. Palestinian writer Jabra Ibrahim Jabra described al-Jader’s artistic production as having a distinct Iraqi nature; indeed, his canvases are focused on the urban inlets of Baghdad, as well as the crannies of Iraqi village life. He interprets these scenes through sweeping brushstrokes, as well as quick, concentrated strokes of color. Al-Jader exhibited his own work extensively both locally and internationally. His works have been displayed in France, Germany, Saudi Arabia, Poland, Russia, Poland, and Denmark.
Kaprow, Allan (1927–2006)
Authors: Child Danielle
Published: September 2018

Allan Kaprow was an American artist whose oeuvre included painting, assemblage, and "environments." He is best known as the originator of "happenings," a term he coined in the late 1950s. A "happening" refers to one-off (often scripted) performances, hosted across different locales, intended to break down the barrier between art and life by eliminating the distinction between artist and audience. Happenings played an important role in the transition from modernist painting to performance art in the mid-20th century. The debt that this new type of practice owes to modernist painting is made explicit in Kaprow’s seminal essay, "The Legacy of Jackson Pollock," published in Art News, October 1958. In the essay, Kaprow proposes an alternative legacy to the formalist one established by American art critic Clement Greenberg. Kaprow boldly claimed that Pollock destroyed painting because in his so-called "action paintings," "artist, spectator and the outside world are interchangeably involved." Kaprow believed that happenings belonged to the legacy of Pollock’s painting in that both produce works of art through commonplace actions. Pollock’s paintings achieve this through a deskilled use of gesture; Kaprow’s happenings do so in their ability to bring together non-art participants and performance through commonplace acts (such as shouting, eating lunch, brushing teeth).
Kayyali, Louay (1934–1978)
Authors: Lenssen Anneka
Published: September 2018

Louay Kayyali was one of the leading painters of the emergent Syrian art scene during the 1960s and 1970s. His most admired works depict individual laborers as "types," illustrating the tragic humanism of everyday life. Kayyali began his career in Aleppo, exhibiting academic portraits and still life paintings locally. In 1956, he won a fellowship to study at the Academy of Fine Arts in Rome, where he became interested in fresco and other traditional techniques. After completing his studies in 1961, Kayyali settled in Damascus and joined the faculty at the new College of Fine Arts. For a period of five years, he exhibited his portrait types, flowers, and architectural landscapes—rendered in simple lines and color stains on pressed chipboard—regularly, to acclaim from collectors. From 1965 onward, Kayyali began to struggle with mental illness. In this later period, he turned to more overtly politicized themes, including a series of dramatic charcoal drawings of citizens under siege, which was sponsored by the Syrian government as a touring exhibition in support of the Arab liberation cause. He also continued to produce paintings of fishermen, street sellers, and mothers as representations of the social themes then preoccupying him.
Khakhar, Bhupen (1934–2003)
Authors: Luis Sandip K.
Published: September 2018

Born in the Baniya community of Mumbai and originally from an artisan caste, Bhupen Khakhar is often considered India’s first "pop artist." Khakhar revealed his homosexual identity in 1982, and is widely considered to be India’s first gay artist, and one of the first openly gay figures within the modern Indian cultural consciousness. Working as a chartered accountant while practicing his own art in 1958, Khakhar met the young Gujarati artist Gulammohammed Sheikh, who encouraged him to join the recently established Fine Arts Department at the M.S. University Bardoa. Following a brief enrollment in evening classes at the J.J. School of Arts in Mumbai, he completed his Master’s in Art Criticism in 1964, and began exhibiting paintings in both group and solo exhibitions. His participation in the renowned "Place for People" exhibition in 1981 and his involvement in the Baroda-based "figurative-narrative movement" are often considered as the discursive events prompting Khakha to reveal his sexual identity. Having participated in a range of international exhibitions including Doucmenta IX (1992), Khakhar received the Indian Government’s Padma Shri Award in 1984 and the Prince Claus Award in 2000. Today, Khakhar is remembered for his poignant paintings (as well as many short stories) depicting India’s small-town bourgeois class, and for opening up the marginalized world of queer desire and identity in India.
Antheil George (1900–1959)
Authors: Templeton Erin
Published: September 2018

George Johann Carl Antheil was an American composer, pianist, author, and inventor. He is best-known for his 1924 composition, Ballet Mechanique, originally scored for sixteen player pianos, two grand pianos, an assortment of percussion, three airplane propellers, and a siren. Antheil was born in Trenton, New Jersey. He began to study piano at age six and travelled first into Philadelphia and later into New York City for lessons. His time in these cities not only fostered Antheil’s musical development; it also introduced him to European art trends like Dadaism and to Alfred Steiglitz and Margaret Anderson, key members of the American avant-garde. A polymath, Antheil also wrote a detective novel, his own autobiography, a series of articles on endocrinology, and a regular movie music column. Finally, he collaborated with actress Hedy LaMarr in developing the famous technology that is the foundation for much wireless communication: Bluetooth, WiFi, and cellular networks.
Kim, Tschang-yeul (1929--)
Authors: Yisoon Kim
Published: September 2018

Kim Tschang-yeul was born in Korea during the Japanese colonial era. After studying painting at the College of Fine Arts at Seoul National University (1948–1950), he moved to America and studied printing at the New York Art Student League (1966–1968). His painting style can be divided into three periods. The first occurred while he was living in Korea from the late 1950s to the mid-1960s, where he painted in the informel style that was popular with young artists of that time, which is epitomized in his work Rite (1965). The second, short-lived period was while he studied printing at the New York Art Student League. Here, Kim abandoned informel and instead developed works influenced by the abstract paintings displayed in the 1966 Primary Structures exhibition, working with Plexiglas or abstract paintings that contained minimalistic elements. The third period was from the 1970s onwards, when he arrived in Paris, where he developed his trademark, realistic water drop paintings, which were painted on the surfaces of newspapers or canvases in works such as Memory (1975) and Water Drops (1979). From the mid-1980s, he has depicted his water drops alongside calligraphy strokes or Chinese characters.
Koraïchi, Rachid (1947--)
Authors: Powers Jean Holiday
Published: September 2018

Born in Ain Beida, Algeria to a Sufi family, Rachid Koraïchi’s art is often framed within a tradition of Sufi spirituality in which aesthetics and metaphysics are intertwined. Writing and signs hold sacred importance for Koraïchi, and calligraphy often structures his works. Drawing from Arabic calligraphy, Koraïchi has created something of his own script—or graphic language—that includes Amazigh and Tuareg letters, as well as mystical symbols. This calligraphy is sometimes legible, but is often abstracted with thick repetitions, becoming signs or figures. While Koraïchi is deeply tied to mystic and visual traditions, and draws from the spiritual and artisanal heritage of the Maghreb, in his artwork these ideas and systems of communication are reworked to become something new. His work ranges from mystical, abstract works to direct political commentary in dialogue with revolutionary and liberation movements. Koraïchi’s diverse oeuvre encompasses everything from intimate prints to large-scale banners and installations. He works in varied media, including printmaking, paint, ceramics, and textiles. Beyond Koraïchi’s personal work, collaborations with writers and poets such as Mohammed Dib, Jamel Eddine Bencheikh, René Char, Michel Butor, and Mahmoud Darwish, have been an important part of his legacy. A number of Koraïchi’s works have also been executed in collaboration with North African artisans trained in traditional techniques, as in dying, weaving, or pottery.
Krull, Germaine (1897–1985)
Authors: Long Jonathan
Published: September 2018

Germaine Krull was one of the major photographers of the interwar European avant-garde, producing work that was highly diverse in both subject matter and technique. Her most characteristic early images include nudes exploring lesbian sexuality and street scenes of Berlin. She is best known for Métal (1928), a portfolio that gathers together sixty-four industrial photographs taken in Holland, France, and Germany. Métal embodies a new kind of industrial aesthetic, in which concentration on decontextualized details and fragments rather than the entirety of machines and buildings seeks to highlight the beauty of modern industrial forms.

Krull lived in Paris from 1926 to 1935, and played a major role in importing the avant-garde photographic techniques of Neues Sehen (New Vision) into France from Central Europe. Her French period is marked by studio work, pioneering photo-reportage, and street photography, the latter of which is partially collected in the book 100 x Paris (1929), in which conventional images of the metropolis are interspersed with street scenes employing avant-garde techniques. During World War II, Krull worked as coordinator of the Free French photographic service in Africa. After 1945, she lived largely in Thailand and India, and her later photographs document the lives of Tibetans in India.