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Black Mountain College was an experimental liberal arts college in North Carolina, active from 1933 to 1957, known for its innovative approach to education, emphasizing interdisciplinary studies, artistic expression, and a collaborative learning environment, attracting prominent artists and intellectuals.
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Black Mountain College was an experimental liberal arts college in North Carolina, active from 1933 to 1957, known for its innovative approach to education, emphasizing interdisciplinary studies, artistic expression, and a collaborative learning environment, attracting prominent artists and intellectuals.
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SELECTED LETTERS OF LOUIS ZUKOFSKY
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Jeffrey Twitchell-Waas
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Barry Ahearn
2026, Selected Letters of Louis Zukofsky
Edited by Barry Ahearn with Jeff Twitchell-Waas. A comprehensive selection of letters by Louis Zukofsky (1904-1978), fully annotated.
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Chromatic Weaves Color through rule and perception in the Work of Anni Albers copia
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Carla Farina
2026, Color Colture and Science / Cultura e Scienza del Colore
In the early 20th century, the Bauhaus, as heir to the artistic avant-garde, left a profound mark on the history of color in the arts. Its artists developed a “chromatic imprinting”, which led them to apply color according to recurring...
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In the early 20th century, the Bauhaus, as heir to the artistic avant-garde, left a profound mark on the history of color in the arts. Its artists developed a “chromatic imprinting”, which led them to apply color according to recurring methods and principles, revealing striking chromatic similarities across their works.
This paper investigates the role of color in the work of Anni Albers, a central figure in the Bauhaus Weaving Workshop. She overcame gender inequality to become a pioneering artist, designer, writer, and educator, whose influence spans various fields, from fashion to graphic arts. While her work on weaving is well-known and widely recognized, her exploration of the synthesis between material, structure, and color has received less scholarly attention. Her pictorial weavings are an inseparable fusion of matter and color, elevating the loom from the realm of applied arts to the artistic one, making her a pioneer of Fiber Art. The themes of weaving, interlacing, rhythm, variation, and harmony transcend aesthetics, unfolding through a synesthetic approach that appeals to both tactile and chromatic perception, in a sensory as well as intellectual levels.
This article seeks to revisit Albers’s work through a chromatic lens, from the color sensibility inherited from the Bauhaus to her later explorations at Black Mountain College. The goal is to analyze how the cultural and artistic education of her time influenced her chromatic choices, in the interplay between structure, material, and color, and to identify the elements that have inspired contemporary visual languages.
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Tsing A.L. (2021). Il fungo alla fine del mondo: La possibilità di vivere nelle rovine del capitalismo, Keller, Rovereto.
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Clizia Moradei
2026, InFolio
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FANTASMATICHE (GABBIE E PAREIDOLIE)
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Matteo Zambon
2026, ARCHITETTURA EFFIMERA E MONUMENTALE. LABORATORIO VERONA
“È evidente che alcune delle più frequenti attribuzioni di immaterialità sembrano tutt’altro che convincenti. È discutibile, per esempio, definire immateriale il software. A ben guardare il software è una tecnologia, ossia uno strumento...
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“È evidente che alcune delle più frequenti attribuzioni di immaterialità sembrano tutt’altro che convincenti. È discutibile, per esempio, definire immateriale il software. A ben guardare il software è una tecnologia,
ossia uno strumento cognitivo che in modo diretto e indiretto costruisce, a conti fatti, i mutamenti senza dubbio di natura materiale.”1 Così, circa trenta anni fa, in Reale e virtuale, Tomàs Maldonado introduceva una singolare apertura al pensiero di un autore notoriamente dedito alla fantascienza: “Stanislav Lem ha elaborato una articolata (e provocatoria) teoria sulle cause e sugli effetti di questa strana predilezione della cultura moderna per i costrutti illusori con funzione vicaria, sostitutiva e addirittura alternativa nei confronti della realtà. Fantasmologia è il nome che, non a caso, Lem ha dato alla sua teoria. Per giunta, egli ha proposto, in stretta connessione con la teoria, anche una tecnica (a essere più esatti una metatecnica): la Fantasmatica”2. Fantasmologia e fantasmatica, pertanto, come ampi dispositivi capaci anche oggi di indagare e distinguere i simulacri dagli eventi stessi. Utili, se non necessari, al confronto di lemmi come spirito e zoo, architettura effimera e monumentale, teatro e deriva, psicogeografie e happening, gabbie e pareidolie.
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Sanctuary and Victim: A medical school that challenged the Jewish quota and welcomed refugees from Naziism
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Daniel R Neuspiel
2026, Holocaust and Genocide Studies
At the time it closed in 1947, Middlesex University School of Medicine (MUSOM) in Waltham, Massachusetts was one of the few American medical schools that did not restrict the enrollment of Jews, who reportedly comprised 85 percent of its...
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At the time it closed in 1947, Middlesex University School of Medicine (MUSOM) in Waltham, Massachusetts was one of the few American medical schools that did not restrict the enrollment of Jews, who reportedly comprised 85 percent of its students. This school also welcomed students and faculty forced to flee Nazi-occupied Europe, and at least twenty-one faculty and eleven student refugees were offered sanctuary there during the Nazi period. Though Middlesex was an oasis from antisemitism, prevalent anti-Jewish attitudes and practices
of its time may have caused its demise. After its forced closure, the school’s property was donated to the founders of a new Jewish-led university.
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美育背景下地方高校美术馆的育人效能及实施路径（Educational Efffcacy and Implementation Pathways of Local University Art Museums in the Context of Aesthetic Education）
by
QUEST PRESS
2026, 《教师教学研究与实践》（Teacher Teaching Research and Practice，ISSN 3080-8081，eISSN 3080-809X）
本研究旨在探讨新时代美育背景下，地方高校美术馆的育人效能及其实施路径。通过梳理国内外相关研究现状，分析地方高校美术馆在美育方面所面临的挑战与机遇，并结合案例分析、问卷调查等方法，深入研究地方高校美术馆的育人价值、育人模式和育人效果。本研究旨在为地方高校美术馆更好地发挥美育功能、提升学生的审美素养和人文精神提供理论支持和实践指导。（This study aims to explore the educational efficacy and implementation...
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本研究旨在探讨新时代美育背景下，地方高校美术馆的育人效能及其实施路径。通过梳理国内外相关研究现状，分析地方高校美术馆在美育方面所面临的挑战与机遇，并结合案例分析、问卷调查等方法，深入研究地方高校美术馆的育人价值、育人模式和育人效果。本研究旨在为地方高校美术馆更好地发挥美育功能、提升学生的审美素养和人文精神提供理论支持和实践指导。（This study aims to explore the educational efficacy and implementation pathways of university art museums in the context of aesthetic education in the new era. By reviewing relevant research both domestically and internationally, it analyzes the challenges and opportunities faced by university art museums in aesthetic education. Through case studies, questionnaire surveys, and other methods, the study delves into the educational value, models, and effects of university art museums. The research seeks to provide theoretical support and practical guidance for university art museums to better fulfill their aesthetic education functions and enhance students’ aesthetic literacy and humanistic spirit.）
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握着大家的手向前走半步——艺术专业学生公共美育课程助教角色构想（Holding Everyone’s Hands and Taking a Half-Step Forward——A Conception of the Role of Art Major Students as Teaching Assistants in Public Aesthetic Education Courses）
by
QUEST PRESS
2026, 《高校教育研究》（Higher Education Research，ISSN 3080-4744，eISSN 3080-4752）
教育方法和教育形式的多样化使高等学校教育中美育教育需求日益增加。但是由于教师岗位的限制、教育资源的有限，出现了需求与供给难以匹配的现象，影响了公共课美育教育教学质量。建立一套艺术类学生有序参与公共美育课程辅助教学的体系和流程，能够在一定程度上缓解师资问题，在提升教学质量的同时也有助于全体学生的全面发展。促进辅助教学者能力可靠、自我提能，真实地发 挥纽带功能，能够保证该流程运作正常高效。各学校的实践可以依据提出的课程模型构想，也应结合自身情况加以变通和创新。（The...
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教育方法和教育形式的多样化使高等学校教育中美育教育需求日益增加。但是由于教师岗位的限制、教育资源的有限，出现了需求与供给难以匹配的现象，影响了公共课美育教育教学质量。建立一套艺术类学生有序参与公共美育课程辅助教学的体系和流程，能够在一定程度上缓解师资问题，在提升教学质量的同时也有助于全体学生的全面发展。促进辅助教学者能力可靠、自我提能，真实地发 挥纽带功能，能够保证该流程运作正常高效。各学校的实践可以依据提出的课程模型构想，也应结合自身情况加以变通和创新。（The diversification of educational methods and forms has led to a growing demand for aesthetic education in higher education. However, due to constraints on teaching positions and limitations of educational resources, a mismatch has emerged between demand and supply, which affects the teaching quality of public aesthetic education courses. Establishing a systematic framework and process for art majors to participate in the auxiliary teaching of public aesthetic education courses in an orderly manner can, to a certain extent, alleviate the shortage of teachers. This not only improves teaching quality but also contributes to the all-round development of all students. Ensuring that auxiliary teachers are competent, capable of self-improvement, and truly fulfill their role as a“ link” is essential to maintaining the normal and efficient operation of this process. While universities can draw on the proposed curriculum model in their practice, they should also adapt and innovate in light of their own specific conditions.）
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LINKAGE OR FUSION?: ANNI ALBERS, LENA BERGNER, AND TEXTILE AXONOMETRY
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Angela Brown
2025, Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien
Axonometry is a graphic technique for rendering three-dimensional forms on a planar surface. Useful in engineering and architecture, it can convey accurate proportions and angles without the distortions of perspectival drawing. This...
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Axonometry is a graphic technique for rendering three-dimensional forms on a planar surface. Useful in engineering and architecture, it can convey accurate proportions and angles without the distortions of perspectival drawing. This technique, and the geometries that it produces, appear in several works by Anni Albers and Lena Bergner, both of whom attended the Bauhaus Weaving Workshop and later pursued textile design abroad (Albers in the U.S. and Bergner in the USSR and Mexico). This paper examines the relationship between textile construction and axonometry in Albers’ and Bergner’s respective oeuvres, arguing that their instruction at the Bauhaus—including their coursework with Paul Klee—trained them to value what Albers termed “linkage.” While “fusion,” for Albers, blurs separate parts into a homogenous whole, “linkage” ensures that the multiple components of a design remain distinguishable when combined.
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Tableros para aulas de plástica
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Iván Toñanes Altamirano
2025, Tableros
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A new art of living: The three ecologies of Black Mountain College
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Tyler Laminack
2025, Georgetown University-Graduate School of Arts & Sciences
This thesis engages the historical site of Black Mountain College through the lens of Félix Guattari’s Three Ecologies. In this study, I appropriate Guattari’s tripartite ecosophy as a means through which to engage the environmental life...
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This thesis engages the historical site of Black Mountain College through the lens of Félix Guattari’s Three Ecologies. In this study, I appropriate Guattari’s tripartite ecosophy as a means through which to engage the environmental life and environmental being of Black Mountain College. Read in this way, the College—more than the mythic and near-utopic idea that preoccupies its image today—becomes a grounded illustration of Guattari’s ecological vision, thus providing us entrance into the historical actuality of Guattari’s lamentably unexplored ecosophy. By examining particular instances of Black Mountain’s communal, artistic, and environmental processes, I am able to show how Black Mountain College created a structure of environmental life that afforded its participants entrance into a seemingly nascent form of environmental being.
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Gothic Black Mountain: abject matter in Michael Rumaker's Black Mountain Days (2003)
by
Tymek Woodham
2025, Re:VIEWING Black Mountain College
Of all the aesthetics circulating through the institutional memory of Black Mountain College, the Gothic is hardly a familiar touchstone. Functionalism, abstraction, modernism, atonality, pragmatism—these are not conceptual containers...
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Of all the aesthetics circulating through the institutional memory of Black Mountain College, the Gothic is hardly a familiar touchstone. Functionalism, abstraction, modernism, atonality, pragmatism—these are not conceptual containers roomy enough for werewolves or vampires, nor would they suffer gargoyles perched on their meticulously crafted lines. This paper, however, attends to narrative accounts of the College that use Gothic imagery to represent the pedagogical encounter. Drawing on Julia Kristeva’s theorisation of ‘the abject’, I contend that memoirs by Michael Rumaker and Fielding Dawson seize upon what is ‘jettisoned’ by the forward push of progressive education, shining a light on contradictions that both threaten and constitute Black Mountain mythologies.
In these accounts, the Appalachian landscape is an eerie incursion into a besieged community; a cipher for repressed legacies of violence that subtend the attempt to ground a more democratic national imaginary. If Xanti Shawinsky once described College pedagogy as ‘taking a crack at the whole man,’ Charles Olson’s vampiric appetites bring the implicit horror of ‘total education’ to the fore, as Oedipal crises interrupt tales of holistic personal renewal. Ghosts and gore haunt Rumaker’s and Dawson’s narratives: both fascinated and repulsed by sick bodies, rejected manuscripts and libidinal confusion, their Gothic lexicons deepen and undermine organicist models of individual development.
By attending to these tropes, I propose ‘Gothic Black Mountain’ not as a unified aesthetic movement but as a tonal frequency that permeates the College’s claims to futurity. I want to ask: what counter-narratives emerge when we exhume the horrific, the repressed or the abjected?; how do fear and trembling trouble the role of the senses in forging artistic, autonomous individuals?; and to what extent does a Gothic Black Mountain help us understand the latent perturbations of American post-war national consciousness?
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Actor-dramaturgs and atmospheric dramaturgies Chekhov technique in processes of collaborative playwriting
by
Tom Six
2025, Michael Chekhov in the Twenty-first Century: New Pathways
This chapter builds upon an analysis of the close connections between Chekhov's practices and those of collaborative playwriting that were developed later in the twentieth century, as well as the 'new dramaturgy' that has emerged in the...
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This chapter builds upon an analysis of the close connections between Chekhov's practices and those of collaborative playwriting that were developed later in the twentieth century, as well as the 'new dramaturgy' that has emerged in the early twenty-first. It proposes, in brief, a new pathway for Chekhov's technique in the training, study and practice of dramaturgs and collaborative playwrights and the theorizing of dramaturgy that underpins their work. In order to achieve this, I seek ways of both breaking open Chekhov's practice to reveal some of its essential dramaturgical principles and fundamentally transforming it by challenging some of the cultural assumptions that shape both his techniques and the language in which they are articulated. I aim, thereby, to effect a kind of Hegelian sublation of Chekhovian practice, so that it is both negated and carried over in the creation of the new pathway that I seek to establish with and for it. This process unfolds in three phases in this chapter. The first asserts the basis for this new pathway for Chekhovian practice by analysing significant points of intersection between practices developed at the Chekhov Theatre Studio between 1936 and 1942 and those of twenty-first-century dramaturgs and collaborative playwrights. The second section develops a proposal for the development of practices in this new pathway by exploring the application of Chekhov's technique to the dramaturgical training and development of theatre-makers for collaborative playwriting. This section draws upon the materials gathered in the Michael Chekhov Theatre Studio Deirdre Hurst du Prey Archive and the findings of my own practice research. This was principally undertaken from 2014 to 2016 in collaboration with playwright and performer Hannah Davies and our company Common Ground Theatre, based in York. During this period, we made four new productions, written by Davies in collaboration with me as the director and the performers. Of particular relevance for this study is our 2015 production of Demons, an adaptation of Dostoyevsky's novel, which was created using some of the same techniques used by the Chekhov Theatre Studio in their adaptation of the same novel as The Possessed (1939). I also draw, here, on the findings of the 2016 New Pathways Praxis Symposium on Michael Chekhov, Collaborative Playwriting and
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Il sovvertitore di linguaggi. Piermario Ciani e l'editoria DIY
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Duccio Dogheria
2025, Pretext
his essay examines the work of Piermario Ciani, a key figure in the Italian underground scene, through his archive now preserved at the Mart Museum in Rovereto. The focus is on his production of fanzines and self-published materials,...
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his essay examines the work of Piermario Ciani, a key figure in the Italian underground scene, through his archive now preserved at the Mart Museum in Rovereto. The focus is on his production of fanzines and self-published materials, tracing a trajectory from his early graphic and comic experiments (115/220, Onda 400) to his collaborations with Vittore Baroni (50%, Trax), up to the desktop publishing experiments of Unexpected Communication and the editorial initiatives of AAA Edizioni.
Drawing on a largely unpublished body of materials, the article highlights Ciani’s role as a true “subverter of languages”: an artist who blended underground comics, post-punk music, Mail Art, digital graphics, and neo-Situationist practices. His archive reveals self-publishing as a fertile ground for aesthetic and cultural experimentation, marking a crucial transition from DIY paper-based practices to the digital revolution of the 1980s–1990s.
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The Religion of No Religion: Jung’s Psychology in the History of Zen Buddhism in the 20TH Century
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Oliver Knox
2025, Phanês Journal For Jung History
In the 1930s, Zen Buddhism was hardly known outside Japan. By the 1960s, it had become by far the most popular form of Buddhism in Europe and the United States. Its popularity was born from the general belief that Zen responded to the...
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In the 1930s, Zen Buddhism was hardly known outside Japan. By the 1960s, it had become by far the most popular form of Buddhism in Europe and the United States. Its popularity was born from the general belief that Zen responded to the psychological and religious needs of the individual without incurring the criticisms customarily levelled against religion. Zen was imagined as a practical spirituality that accepted all religions and religious symbols as expressions of a universal psychological truth. Zen was not itself a religion, but a ‘super-religion’ that had understood the inner mechanics of the psyche’s natural religion-making function. Three authors in particular, namely D. T. Suzuki, Friedrich Spiegelberg and Alan Watts, were pivotal in the formation of this narrative. Using Jung’s psychological model as their conceptual basis, they promoted a vision of Zen Buddhism that laid the foundations for the ‘Zen Boom’ of the 1950s and 60s. This article will examine the pivotal role pl...
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Review of Jenni Sorkin, Live Form: Women, Ceramics, Community (University of Chicago Press, 2016)
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Jennifer Sichel
2025, Sculpture Journal
By centring ceramics, Jenni Sorkin's book Live Form: Women, Ceramics, and Community offers a new, and vital, history of the development of art in the United States in the decades following the Second World War. Working against a...
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By centring ceramics, Jenni Sorkin's book Live Form: Women, Ceramics, and Community offers a new, and vital, history of the development of art in the United States in the decades following the Second World War. Working against a widespread tendency to treat ceramics as something outside the development of post-war avant-garde artistic practices, Sorkin casts it as 'a parallel medium'. Sorkin explains, 'ceramics offered a tantalizing proximity to the avant-garde movements of the era, including, but not limited to, abstract expressionism, Happenings, experimental music, minimalism, and […] even video art' (p. 3). Sorkin goes on to flip this script; in the pages of Live Form, avant-garde movements of the era develop in 'tantalizing proximity' to ceramics. By recalibrating the centre of gravity, Sorkin directs our attention away from Josef Albers, Joseph Beuys, John Cage -or, 'the ABCs, in effect', as Sorkin writes, of 'the masterful, male pedagogical narrative' of post-war art -and towards a constellation of women artists who worked beside traditional structures and institutions
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艺术为中心的教育——黑山学院办学思想研究 Art-Centered Education On Black Mountain College's Educational Philosophy
by
Hanyu Zhang
2025, Journal of Sichuan Normal University Social Sciences Edition
对于20世纪美国高等教育领域和艺术界来说，黑山学院是一所特殊的文理学院。该校通过独特的人才培养理念和模式，塑造了一批富有开拓性和创造力的艺术人才。作为人才培养的重要机构，一所高校的办学思想构成了自身人才培养模式的理论内涵，并对其培养方案的设计、制定和实施起到提纲挈领的指导作用。黑山学院的办学思想来源有三：约翰·杜威的实用主义教育哲学、进步主义教育运动和德国包豪斯学院专业艺术教育。美国本土教育运动与欧洲现代艺术教育改革思潮，两种欧美传统共同构成了黑山学院办学思想的理论基础，并体...
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对于20世纪美国高等教育领域和艺术界来说，黑山学院是一所特殊的文理学院。该校通过独特的人才培养理念和模式，塑造了一批富有开拓性和创造力的艺术人才。作为人才培养的重要机构，一所高校的办学思想构成了自身人才培养模式的理论内涵，并对其培养方案的设计、制定和实施起到提纲挈领的指导作用。黑山学院的办学思想来源有三：约翰·杜威的实用主义教育哲学、进步主义教育运动和德国包豪斯学院专业艺术教育。美国本土教育运动与欧洲现代艺术教育改革思潮，两种欧美传统共同构成了黑山学院办学思想的理论基础，并体现在其教育教学活动的方方面面。
For the realm of higher education and the arts in the 20th-century United States,Black Mountain College was a unique liberal arts institution. Through its distinctive talent cultivation concepts and models,the college shaped a group of pioneering and creative artistic talents. As an important institution for talent cultivation, a university's educational philosophy forms the theoretical connotation of its talent cultivation model and plays a guiding role in the design, formulation, and implementation of its educational programs. Black Mountain College's educational philosophy has three sources: John Dewey's pragmatic educational philosophy, the progressive education movement, and the professional art education of the Bauhaus. The combination of American educational movements and European modern art education reform trends constitutes the theoretical foundation of Black Mountain College's educational philosophy and is reflected in all aspects of its educational activities.
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La forma della città. Contributi sul progetto urbano
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Alessandro Dalla Caneva
2025, Edizioni Del faro
Questo libro raccoglie alcuni scritti elaborati in occasioni e tempi diversi. I contributi affrontati e proposti rientrano all’interno di una stessa cornice teorica e pratica che riguarda il rapporto architettura-città. Gli autori hanno...
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Questo libro raccoglie alcuni scritti elaborati in occasioni e tempi diversi. I contributi affrontati e proposti rientrano all’interno di una stessa cornice teorica e pratica che riguarda il rapporto architettura-città. Gli autori hanno inteso interrogarsi attorno ad una precisa questione che riguarda i modi di costruire la città del proprio tempo.
Questo moto verso i modi del progetto si misura con il tema della rigenerazione urbana, termine che appare tuttavia inadeguato per rispondere alle necessità di forma dell’architettura. Si potrebbe così accostare l’espressione rigenerazione urbana alla parola ricostruzione che sembra meglio incontrare le aspettative di forma dell’architettura.
Questa prospettiva considera importante ritrovare un rapporto di continuità con le forme della città storica. In questo senso la relazione architettura-città guarda al progetto come diretta conseguenza di una consapevole e critica relazione tra nuovo e vecchio, intendendo nella parola ricostruzione l’arte di ricostruire i caratteri propri della città storica.
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Chapter 06: A College in Crisis (The Rice Affair), 1933
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JACK LANE
2025
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Black Mountain College Case: Transformation Trends in Art Education in the First Half of the 20th century
by
Jana Migasova
2025
In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit -the Bauhaus in Europe and Black Mountain...
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In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit -the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey's educational principles, Josef Albers' peculiar conception of art instruction, and the college founders' ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that -despite a process of reform lasted more than a hundred years -art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century (e.g. Semper, Morris, Lichtwark, Dewey, Albers), something that art educators and art theoreticians of the 21st century must take this into a serious consideration.
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Oral History Project/ Jerry LaFave
by
Heidi Perez
2025
that were going to college. And unfortunately for me, my father didn't have the money to send me away to college. We had a lot of children in my family and so it was a difficult decision. And not only that, I didn't like school at the...
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that were going to college. And unfortunately for me, my father didn't have the money to send me away to college. We had a lot of children in my family and so it was a difficult decision. And not only that, I didn't like school at the time, so I had to go. (Laughs) When you're drafted you have to show up! (Chuckles again). HP: That's understandable. So, um, where were you living at the time? PJ: I was living In Grand Rapids, Michigan, the house I was born in. HP: Wow. PJ: (Laughs jovially) yeah. HP: (Laughs with Pastor Jerry) your whole life! PJ: Yes. HP: (laughter falters away) so what branch did you choose? PJ: I did not choose, they choose for you, you are drafted into the army. And if you enlisted, you can make a choice of another branch that you want to go into. HP: Oh, I thought it was like when they draft you, you can pick between you know A B C and D. PJ: No, they select all of that for you (laughs at the end). HP: (Feeling quite dumb) Oh. Well which one were you selected into? PJ: The army. HP: The army? PJ: Mmhmm. HP: Okay (laughs) where did you serve? PJ: I went to Fort Knox, Kentucky, for my basic training and after eight weeks of training, I was given a short leave to come home and then sent to Fort Jackson, South Carolina, where I learned to be an advanced infantrymen, one that is more proficient where you learn to operate more weapons, the things I explained to you in the email. HP: Mhm, Great. PJ: And then from there, do you want me to carry out? We went to Vietnam.
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Lacing Lessons from Black Mountain College into Beginning Design
by
William T Willoughby
2025, Proceedings of The National Conference on the Beginning Design Student 39: Shared Resources
Black Mountain College Black Mountain College (BMC) 1933-1957, was a significant convergence of art, design, and literary education in the United States. Its beginnings were ignited by John Dewey's theories of education. Philosophers,...
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Black Mountain College Black Mountain College (BMC) 1933-1957, was a significant convergence of art, design, and literary education in the United States. Its beginnings were ignited by John Dewey's theories of education. Philosophers, scientists, poets, literary and social theorists, designers, musicians, and artists came to Black Mountain in the spirit of inner freedom and collective education.
Unlike other Modernist design foundation programs, the educational influence from Black Mountain College is less distinct and marginally evident in today’s design education. Such individuals as John Andrew Rice, Joseph and Anni Albers, and others are discussed, including their impact on pedagogy at BMC. The essay uncovers education at BMC its many faceted lessons—which are clarified and reduced to principles intended to influence beginning design education. The essay concludes with speculations on the position and role of design education more generally.
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Mah, Susan Interview
by
Abby Hicks
2025
Hicks: The people? The people at school or those when you went back to the farm or? Mah: Just the people you know that are around you. Hicks: Relatives? Mah: Uh huh. You feel more comfortable. Hicks: Did you have a lot of relatives back...
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Hicks: The people? The people at school or those when you went back to the farm or? Mah: Just the people you know that are around you. Hicks: Relatives? Mah: Uh huh. You feel more comfortable. Hicks: Did you have a lot of relatives back there? Mah: Yes. Hicks: Were they close by to you? Mah: Within walking distance. Hicks: That close? Was there anything about the old country you didn't like? Mah: Maybe the bathroom facilities? We just took a trip back to China in the summer and we all talk about that we had to use those outhouses. Hicks: You had to use them? Mah: No. Everyone was amazed that I didn't have to use them. That was in the summer and we perspired so much so I guess I didn't have any extra liquid to get rid of. Hicks: Were you ever able to do anything about the things you didn't like? Mah: No, not really. One thing, I was too young, and I didn't think of trying to improve anything. I just accepted it the way it was.
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Why do Unionists want art to be universal
by
Alan Riach
2025
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Hugh MacDiarmid and Emily Dickinson : the Thistle and the Moonlight
by
Eloísa Nos Aldás
2025
are two dissimilar personalities who inhabited different universes but whose poetry presents many similarities. They even share some influences and it is possible that Emily Dickinson influenced MacDiarmid through Ezra Pound. Theirs is a...
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are two dissimilar personalities who inhabited different universes but whose poetry presents many similarities. They even share some influences and it is possible that Emily Dickinson influenced MacDiarmid through Ezra Pound. Theirs is a poetry with a powerful lyrical conciseness and an aphoristic nature that makes possible to define it as aphoristic haikai.
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Hugh MacDiarmid and Emily Dickinson: the Thistle and the Moonlight
by
Eloísa Nos Aldás
2025, Exemplaria
They even share some influences and it is possible that Emily Dickinson influenced MacDiarmid through Ezra Pound. Theirs is a poetry with a powerful lyrical conciseness and an aphoristic nature that makes possible to define it as...
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They even share some influences and it is possible that Emily Dickinson influenced MacDiarmid through Ezra Pound. Theirs is a poetry with a powerful lyrical conciseness and an aphoristic nature that makes possible to define it as aphoristic haikai. ...
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Albers, Mondrian, Bach - Music as a Basis for Abstract Art
by
Caro Verbeek
2025, Anni + Joseph Albers
This article explores how two contemporary abstract artists - Piet Mondrian and Josef Albers - composed their abstract art following musical grammar (particularly of Bach's fugues and jazz music) rather than developments in visual art....
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This article explores how two contemporary abstract artists - Piet Mondrian and Josef Albers - composed their abstract art following musical grammar (particularly of Bach's fugues and jazz music) rather than developments in visual art. But how did they go about? Do these fellow artists share similar views on 'how to paint music' or are they different?
In addition this text traces the origins of 'synaesthesia' and 'audition coloree'; a phenomenon in which the stimulation of one sensory domain leads to the experience of other sensory impressions. Theosophy, art and science were fundamental for the dissemination of this idea (or rather lived experience) which was fundamental for the emergence of abstract art.
This article was translated from Dutch by Sue McDonnell. Its source is the exhibition catalogue 'Joseph and Anni Albers' (ed. Frouke van Dijke, 2023, Waanders Publishing). The exhibition was held at Kunstmuseum Den Haag in collaboration with the Albers Foundation.
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「新表演轉向」的藝術史論述差異及問題 —— 從「身體政治」的關注轉向「社會編舞」的操演性
by
Danson Wong
2024, 拓邊 2023年藝術史與視覺文化研究生聯合論文發表會
過去二十年間，表演藝術家經常受邀在藝術展覽中展示他們的「表演」 （Performance），這已成為美術館和藝術雙年展的一種趨勢，引發了當代藝術中「新表演轉向」（New Performance Turn）的現象。本文探討不同學者對這一現象的藝術史發展基礎的看法。⻄方學者傾向關注表演進入視覺藝術領域時所帶來的意義，例如「編舞、組織、展覽場域和生產模式」，而非⻄方學者則更關注戰後以來「行為藝術」（Performance...
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過去二十年間，表演藝術家經常受邀在藝術展覽中展示他們的「表演」
（Performance），這已成為美術館和藝術雙年展的一種趨勢，引發了當代藝術中「新表演轉向」（New Performance Turn）的現象。本文探討不同學者對這一現象的藝術史發展基礎的看法。⻄方學者傾向關注表演進入視覺藝術領域時所帶來的意義，例如「編舞、組織、展覽場域和生產模式」，而非⻄方學者則更關注戰後以來「行為藝術」（Performance Art）中涉及的「身體政治」和「行動主義」等前衛力量。這種差異性揭示了一個事實：各地不同時期的表演轉向性質並不一致，戰後非⻄方的「行為身體命題」更趨向於涉及後殖⺠文化體制、主體性問題、社會道德和政治現實。
本文試圖從非⻄方觀點補充對「新表演轉向」的理解，並反思將此現象假設在二戰後「行為藝術」前衛基礎上發展的適切性。當今的「新表演轉向」是否真的可以被視為早期「行為藝術」某種「新」美學形式的延伸呢？從1960年代起，藝術展覽場域中的生命體和當今「表演」在博物館中的情況並不相同。在現代藝術史上，「身體行為」是對現存體制的挑戰，但當今新形式的「表演」更關注於展覽空間中的社交性能量。最終，本文提議當今的「新表演轉向」實際上是將表演中的操演性（Performativity）視為「新的策展和組織意義的工具」，更貼近安德魯．赫維特（Andrew Hewitt）提出的「社會編舞」（Social Choreography）概念，關注如何有效地在展覽場域中激活感知、體驗和社交情境。
關鍵字：新表演轉向、行為藝術、身體政治、操演性、社會編舞、情境
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Interview No. 1564
by
Socorro Ivonne Arreola perez
2024
This is a recording of an interview with Mrs. Socorro Perez. She lives at 7911 Monterrey, in El Paso, Texas. The date is Monday, March 3, 2003. The interviewer is Richard Baquera, and this interview is for the Bracero Oral History...
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This is a recording of an interview with Mrs. Socorro Perez. She lives at 7911 Monterrey, in El Paso, Texas. The date is Monday, March 3, 2003. The interviewer is Richard Baquera, and this interview is for the Bracero Oral History Project. RB: Let's just begin with, would you please tell me your name and birthday? SP: I was born here in El Paso, at Thomason Hospital, about sixty-one, some years [ago]. RB: Your maiden name? SP: My maiden name is Socorro Christina Ortiz Perez. I started school-RB: What part of town were you born in? SP: I was born at Thomason. My mother and my grandmother used to live in the second ward. RB: Do you remember the address? SP: It was Park Street, in front of the little park that was on presidio there. Right now, it's renovated; it's got government projects. Then when I was about five, we moved up to North El Paso [Street], so we started school at Morehead. RB: Do you remember the address there? SP: North El Paso Street, it was a hill, homes were there just across from Providence [Hospital], more or less, a little bit over here on the mountains, where there was a mountain, and it was North El Paso Street at the time. Now, it's changed, I think the name has changed. Anyway, I started Morehead, first grade, second grade, that was at my grandmother's house. Then we moved back to second ward, with just the five of us and my mother. My mother was a widow. RB: How many brothers and sisters? SP: I've got three brothers, and my sister, and I. RB: And you are oldest? Youngest? SP: I'm the second oldest, just a year apart. My brother and I are three years apart. My sister and I are one year apart. Then my brothers, five years apart from us, then two, one year apart also.
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Socrates and the Method of Dramatization: Pragmatic Dimensions of Teaching Philosophy at Black Mountain College
by
Melanie Sehgal
2024, Black Mountain College as Multiverse, hg. von Petra Maria Meyer und Arnold Dreyblatt, Dortmund: Verlag Kettler
In this text, I investigate the relationship between pragmatism and Black Mountain College. Rather than looking for possible influences, however, I take the pragmatic revision between theory and practice as a starting point in order to...
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In this text, I investigate the relationship between pragmatism and Black Mountain College. Rather than looking for possible influences, however, I take the pragmatic revision between theory and practice as a starting point in order to discern the patterns of interference or resonances between the philosophy of pragmatism and the institutional and educational practices of Black Mountain College. I am primarily interested in those systematic aspects of pragmatism that find expression in transdisciplinary experiments like Black Mountain College, as well as in those aspects of Black Mountain’s practice that can be read as pragmatic, such as the primacy of method. After developing an understanding of the pragmatist’s emphasis on the primacy of practice as a primacy of method, I focus on BMC’s director John Andrew Rice’s Socratic method of teaching philosophy as well as former Bauhaus artist Xanti Schawinsky’s experimentation with theater as a form of transdisciplinary philosophy.
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Showing up de Kelly Reichardt
by
Victoria Murphy
2024, Reseña del film Showing Up
Showing Up (dir. Kelly Reichardt, 2022) ofrece una crítica profunda sobre el valor del proceso creativo y el rol de la comunidad en el contexto del capitalismo tardío, donde predominan el individualismo y la inmediatez. Con una estética...
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Showing Up (dir. Kelly Reichardt, 2022) ofrece una crítica profunda sobre el valor del proceso creativo y el rol de la comunidad en el contexto del capitalismo tardío, donde predominan el individualismo y la inmediatez. Con una estética de tomas largas y una atención especial a los detalles de la creación, Reichardt plantea una visión alternativa de la práctica artística, una que subraya la persistencia y el acompañamiento mutuo frente a un sistema que tiende a invisibilizar estos aspectos.
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Hilda Morley: Lost on Black Mountain
by
Lisa Mullenneaux
2024, Black Mountain College Museum Arts Center
In her twenties, the New York poet Hilda Morley visited Hilda Doolittle, her namesake and mentor, in London. "Don't publish too early," H.D. advised her. How acutely Morley heeded her advice: she was sixty when her first collection, A...
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In her twenties, the New York poet Hilda Morley visited Hilda Doolittle, her namesake and mentor, in London. "Don't publish too early," H.D. advised her. How acutely Morley heeded her advice: she was sixty when her first collection, A Blessing Outside Us, was published in 1976 by Pourboire.
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Cy Twombly's Projective Painting
by
Katherine Markoski
2024, Journal of Black Mountain College Studies
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Dreaming of Dissent: Rochdale College and the Failed Dream of Communal Education
by
Sean Steele
2024
The paper looks at experimental alternative education systems to explore different approaches to pedagogical theories of post-secondary education. The paper focuses on the story of Rochdale College, an experimental free-form college and...
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The paper looks at experimental alternative education systems to explore different approaches to pedagogical theories of post-secondary education. The paper focuses on the story of Rochdale College, an experimental free-form college and communal housing project associated with the University of Toronto between 1968 and 1975. The aims, theories and methods of Rochdale College are contextualized by an examination of two theorists on alternative education: John Dewey and Paul Goodman. The theories of Dewey and Goodman are explored through a brief examination of two experimental colleges that preceded Rochdale: The Experimental College (at Tufts University from 1927-32) and Black Mountain College in North Carolina (active from 193357). Ideas regarding alternative forms of education were integrated into socio-political ideas from the 1960s counterculture movement in America and Canada, and a major test site for a form of counterculture education was the controversial experiment called Ro...
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Collocamento, istituzioni, migrazioni: il governo del mercato del lavoro, in Fondato sul lavoro. Scritti per Stefano Musso, a cura di Fabrizio Loreto e Gilda Zazzara, Accademia University Press, Torino 2022
by
Stefano Gallo
2024
Stefano Musso è lo storico italiano che ha dato continuità agli studi di storia del lavoro dagli anni settanta ad oggi, coltivandoli anche in stagioni di generale disinteresse da parte della cultura accademica e politica. Dai primi studi...
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Stefano Musso è lo storico italiano che ha dato continuità agli studi di storia del lavoro dagli anni settanta ad oggi, coltivandoli anche in stagioni di generale disinteresse da parte della cultura accademica e politica. Dai primi studi sugli operai torinesi del primo Novecento alla Storia del lavoro in Italia dall’Unità ad oggi (2002), fino ai contributi più recenti, Musso ha tenuto aperta e continuamente rinnovato una tradizione di ricerca rigorosa e appassionata sui mondi operai e dell’impresa, sul movimento sindacale e sulle politiche pubbliche del lavoro. In questi saggi raccolti in occasione del suo pensionamento da professore dell’Università di Torino, studiose e studiosi di diverse generazioni rendono omaggio al suo insegnamento scientifico e umano, in un tributo che è anche un impegno a continuare nel solco da lui tracciato.
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"Anni Albers y Alexander Reed: en busca de la belleza en la forma del objeto inútil”,
by
Inmaculada HURTADO SUÁREZ
2024, GUTIERREZ REYES, C. y HURTADO SUÁREZ, I (Eds.), Cartografías de género en la expresión artística contemporánea. Madrid, Dykinson, 2024,. ISBN: 9788411709439 ISBN electrónico: 978-84-1170-943-9
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«Homero, Eurípides e Seami Motokiyo. Acto projectivo, materialidades e performance», palestra apresentada ao colóquio ‘Cruzamentos I: Entre as artes e a filosofia’, Salamanca, Faculdade de Filologia · Seminário de Português, 21.04.2023.
by
Pedro Serra
2024
Este artigo propõe uma leitura crítica do ensaio Projective Verse (1950),
de Charles Olson, como gesto teórico e poético que reformula radicalmente a
compreensão do poema enquanto artefacto formal e fenómeno energético.
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Spatial Poetics, Proprioception and Caring for Country in Charles Olson’s The Maximus Poems
by
Nathanael Pree
2024
I would like to begin by thanking my supervisor, Peter Minter, for his patience, generosity and skill in guiding the focus of this thesis. His input and inspiration have been vital in discerning and developing a sense of direction from an...
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I would like to begin by thanking my supervisor, Peter Minter, for his patience, generosity and skill in guiding the focus of this thesis. His input and inspiration have been vital in discerning and developing a sense of direction from an initially tangled array of ideas. His concept of "transnational projectivism" has been fundamental to my understanding of Charles Olson's poetry and poetics when viewed from the contexts within which this thesis operates. Specifically, as a result of his supervision, I have been privileged to receive insights into approaching the knowledge and wisdom contained in Aboriginal Australian culture. It is with this is mind that I would also like to extend my respect to all Indigenous people named in this thesis: writers, academics and custodians of Country, past and present. Gratitude is also due to my assistant supervisor, Mark Byron, for indicating the transnational potential of my work, and for encouraging me to participate more widely in the academic community, both here at the University of Sydney and overseas. I would also like to thank both David Brooks and Bernadette Brennan for inspiration: David introduced me to Olson's poetry through a series of inspirational seminars, and both he and Bernadette lent their support to my application when the ideas for the thesis were in their formative stages. Thanks also to Bruce Gardiner, who kindly and proactively provided advice when the thesis was at a critical stage. I would like to acknowledge the work done by all the staff within the Department of English, the School of Literature, Arts and Media and the Faculty of Arts and Social Sciences, which has helped facilitate the progress of the thesis, and afforded me the opportunity to contribute to the field of study. I remain grateful for the funding that has enabled me to travel and participate at conferences both within Australia and abroad, both from the university and the Commonwealth of Australia, and it is to the latter that I am indebted for the Australian Postgraduate Award, which enabled me to undertake research on a full-time basis. v More broadly, I would like to acknowledge and thank members of the international academic community, whose input has provided motivation and inspiration at various stages of my research. Foremost among these is the late Ralph Maud, for the warmth of his welcome to the field of Olson studies. I would also like to thank Jeffrey Gardiner, whose comments on my paper presented at the American Literary Association conference were perceptive and of great assistance in understanding Olson's later poetics. Gary Grieve-Carlson, who chaired the panel for my initial presentation to the association, provided sources that have also been helpful for my work. My thanks also go out to Melissa Watterworth-Batt, curator at the Olson archive at the University of Connecticut, for her kind assistance during the stimulating and productive time I spent there. Finally, a sense of appreciation beyond that which words can adequately express is reserved for family: Katinka and Barney Pree, for their unconditional love and consistent moral support, and to my wife, Aya Murasawa, for looking after me in so many ways during this time. I dedicate this thesis to the memory of my father, Barry Pree, who taught me how to love reading, and in remembrance of Alan Seymour, whose friendship saw me through so much. This one's for the both of you. vi
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Reopening the field: Reading/writing Robert Cooper today
by
Sverre Spoelstra
2024, ephemera
Can unpublished papers from decades ago help us think about contemporary critical theories of organization? In this special issue, we bring together six papers by the social philosopher, organization theorist and poet Robert Cooper...
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Can unpublished papers from decades ago help us think about contemporary critical theories of organization? In this special issue, we bring together six papers by the social philosopher, organization theorist and poet Robert Cooper (1931-2013) that were hitherto not widely available. Cooper was a prominent theorist of organization, known for introducing postmodernism and post-structuralism to organization studies. He has also been highly influential in process studies of organization. We think that what Cooper learned from avant-garde poetry was that form ought to reflect the content, and this is evident in his writing. The content finds its form in the text – and it can only find this form through an openness that lies at the heart of research, in organization studies and elsewhere.
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Hans Max Krieger and Jeff Krieger oral history interview by Tori Chambers Lockler, December 10, 2009
by
Tori Lockler
2024
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Teaching Theatre Today: Pedagogical Views of Theatre in Higher Education (review)
by
Jeanne Klein
2024, Theatre Topics
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Volitans sub verbere turbo in A Turning World 2023, pp. 115-128
by
Agnese Lojacono
2024
Si presentano in questo articolo tre vasi di produzione greca e magnogreca, una pelike del Museo Archeologico Nazionale Ridola di Matera, un cratere conservato al Royal Museums of Fine Arts di Bruxelles e un aryballos dal Martin von...
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Si presentano in questo articolo tre vasi di produzione greca e magnogreca, una pelike del Museo Archeologico Nazionale Ridola di Matera, un cratere conservato al Royal Museums of Fine Arts di Bruxelles e un aryballos dal Martin von Wagner Museum di tazione dell'oggetto ludico è la medesima, un paleo a corpo cilindrico con terminazione pelike mostra infatti la trottola in associazione con il dio Eros, il cratere la inserisce nel contesto funerario del naiskos, l'aryballos presenta invece una scena di gioco infantile.
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CATALOGO FESTIVAL BAUHAUS 1O
by
Marisa Vadillo
2024
Catálogo del FESTIVAL "BAUHAUS 101"
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Note conclusive
by
Roberto Isotton
2024
Mi accingo volentieri a compilare queste brevi note riassuntive sulle relazioni che completano il convegno del novembre 2021 su Tabellio, notarius, notaio: quale funzione? Una vicenda bimillenaria Milano e del quale le organizzatrici,...
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Mi accingo volentieri a compilare queste brevi note riassuntive sulle relazioni che completano il convegno del novembre 2021 su Tabellio, notarius, notaio: quale funzione? Una vicenda bimillenaria Milano e del quale le organizzatrici, Alessandra Bassani e Francesca Pulitanò, mi hanno invitato a presiedere i lavori. mente, mi hanno infatti incaricato di elaborare anche qualche considerazione di sintesi intorno ad un tema-quello della funzione notarile nella prospettiva storica-non solo intrinsecamente complesso, ma anche declinato entro un intervallo di lunghissimo periodo, che accompagna-e in taluni casi, come subito
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Experimentation and Invention in Weaving at the Bauhaus
by
Isabel Wünsche
2024, Material Modernity: Innovations in Art, Design, and Architecture in the Weimar Republic, ed. by Deborah Ascher Barnstone and Maria Makela
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior...
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All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. Whilst every effort has been made to locate copyright holders, the publishers would be grateful to hear from any person(s) not here acknowledged.
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Aspects of Zen Buddhism as an Analytical Context for John Cage's Chance Music
by
Rob Haskins
2023, Contemporary Music Review
The writings of Cage's acknowledged mentor in Zen Buddhism, D.T. Suzuki, reveal a more complex picture of Zen than Cage himself tended to describe. This essay considers several of these writings in order to articulate an approach to...
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The writings of Cage's acknowledged mentor in Zen Buddhism, D.T. Suzuki, reveal a more complex picture of Zen than Cage himself tended to describe. This essay considers several of these writings in order to articulate an approach to listening and analysis based in Zen, which is then used to explore two compositions with very different sonic profiles, Music for Piano 21 (1955) and One 5 (1990). My findings suggest a wide range of audible relationships in Cage's music as well as an ethical dimension to analysis related to Joan Retallack's concept of poethics.
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“Lingua e illuminazione. L’insegnamento di Dōgen”
by
Aldo Tollini
2023
Se si eccettuano rari toponimi con una denominazione moderna (Via Garibaldi, Via XXII Marzo, Campo Manin) a Venezia città non vi sono calli, campi, rii con nomi di personaggi illustri, ma solo riferimenti ad arti e mestieri, santi ed...
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Se si eccettuano rari toponimi con una denominazione moderna (Via Garibaldi, Via XXII Marzo, Campo Manin) a Venezia città non vi sono calli, campi, rii con nomi di personaggi illustri, ma solo riferimenti ad arti e mestieri, santi ed eventi (Rio Terà degli Assassini). Al Lido invece sono "relegati" i dogi e i condottieri, e i nomi di battaglie vinte e perse.
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Painting on Pointe Shoes Ilmira Bagautdinova
by
Ana Voronkov
2023, Painting on Pointe Shoes_ Bagautdinova
The oeuvre of Ilmira Bagautdinova is devoted to a new condition of artistic freedom. Her «living art» is about the redefinition of the logic of materials and the space of the canvas, as well as attempt to resolve the traditional...
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The oeuvre of Ilmira Bagautdinova is devoted to a new condition of artistic freedom. Her «living art» is about the redefinition of the logic of materials and the space of the canvas, as well as attempt to resolve the traditional oppositions of form and content, purposes and means.
Ilmira Bagautdinova, with her non-trivial approach to creating paintings with the help of pointe shoes while dancing, defines physicality as the First Cause of fantasies and manias, desires and impulses, as well as free associations. All this gives rise to experimental, «living art», as you wish, which exists at the intersection of visual art and ballet.
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