The Language of the Visual and Twentieth-Century Transatlantic Vanguardisms
This panel explores the power of image culture in shaping the visual identity of twentieth-century transatlantic vanguardisms. Since the inception of European experimentalism during the first decades of the twentieth century, a series of art movements engaged in radical art production that defied conventions. From the Cubist adoption of multiple viewpoints, through the Futurist celebration of technology and speed, the Expressionist distortion of form, to the Dadaist sense of provocation and the irrational juxtaposition of images in Surrealism, visual art has set precedents for literature on an international level of exchanges. Thanks to venues that exhibited the work of European expatriates, namely the Armory Show and Alfred Stieglitz’s gallery 291, along with journals such as Camera Work,American Modernists reinvented their own expressive language by rethinking the sense of place. Meanwhile, the Argentinian ultraístas, the Mexican estridentistas and muralistas as well as the Peruvian group of the journal Amauta, among others, took advantage of European experimentalism and their pre-Columbian past to reflect on the convulsive reality of Latin America. Based on the ideas of vision, visuality and visualization, topics might include, but are not limited to the following:
—The visual content of the manifesto as a revolutionary form of protest.
—Cinema celebrity culture and the male gaze.
—The fusion of verbal and visual codes: photo-poetry and cinepoetry.
—The literary adaptation of the snapshot, the montage and the close up.
—Ekphrastic literature on films, photographs and comic characters in the Hollywood industry.
—The visual provocation of avant-garde soirees.
—Transatlantic vanguardism and print culture.
—Underlying ideologies of public images.
—Graphic humor and the grotesque in the avant-garde.
—Mass media and consumer society.
By May 31st, 2019, please submit a 300-word abstract in English or Spanish along with a brief bio and A/V requirements to Leticia Pérez Alonso (firstname.lastname@example.org), Jackson State University.