Avant-garde (pronounced|avɑ̃gaʁd in French) means "advance guard" or "vanguard."Cite web|url=http://dictionary.reference.com/search?q=avant-garde|title=Avant-garde definitions|accessdate=2007-03-14|publisher=Lexico Publishing Group, LLC|work=Dictionary.com] The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. However, this is not true in the case of music as many pieces are still being released which are generally considered avant-garde in popular culture. [cite web|url=http://www.last.fm/tag/avant-garde|title=avant-garde tag - Music at Last.fm|publisher=Last.fm Ltd.|accessdate=2008-06-29] Many artists have aligned themselves with the avant-garde and still continue to do so, tracing a history from Dada to the Situationists to postmodern artists such as the L=A=N=G=U=A=G=E writers in the 1980's to many art collectives in the "post-postmodernist" [ [http://www.philosophynow.org/issue58/58kirby.htm Philosophy Now] One of many articles on the new paradigm out of post-modernism into a new time where the avant-garde concepts of author are truly vanquished.] times of today. [ [http://www.ubu.com/ UBU website - UBU Web] List of artists from Dada to the present day aligning themselves with the avant-garde]

Working definition

A term originally used to describe the foremost part of an army advancing into battle (also called the vanguard) and now applied to any group, particularly of artists, that considers itself innovative and ahead of the majority [http://www.encyclopedia.com/doc/1O5-avantgarde.html]

The vanguard, a small troop of highly skilled soldiers, explores the terrain ahead of a large advancing army and plots a course for the army to follow. This concept is applied to the work done by small collectives of intellectuals and artists as they open pathways through new cultural or political terrain for society to follow.

The origin of the application of this French term to art is still debated. SomeWho?|date=May 2008 fix it on May 17, 1863, the opening of the Salon des Refusés in Paris, organized by painters whose work was rejected for the annual Paris Salon of officially sanctioned academic art. Salons des Refusés were held in 1863, 1874, 1875, and 1886.

The term also refers to the promotion of radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay, "L'artiste, le savant et l'industriel," (“The artist, the scientist and the industrialist”, 1825) which contains the first recorded use of "avant-garde" in its now-customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde," insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political, and economic reform. [cite book|author=Calinescu, Matei|title=The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism|publisher=Duke University Press|year=1987] Over time, avant-garde became associated with movements concerned with "art for art's sake", focusing primarily on expanding the frontiers of aesthetic experience, rather than with wider social reform.

Avant-garde jazz is a more recent application of the term, dating back to the late 1950s.

Theorizing the avant-garde

Several writers have attempted to map the parameters of avant-garde activity with limited success. One of the most useful and respected analyses of vanguardism as a cultural phenomenon remains the Italian essayist Renato Poggioli's 1962 book "Teoria dell'arte d'avanguardia" ("The Theory of the Avant-Garde"). Surveying the historical, social, psychological and philosophical aspects of vanguardism, Poggioli reaches beyond individual instances of art, poetry and music to show that vanguardists may be seen as sharing certain ideals or values which are manifested in the non-conformist lifestyles they adopted, vanguard culture being shown to be a variety or subcategory of Bohemianism. [cite book|author=Poggioli, Renato|title=The Theory of the Avant-Garde|publisher=Belknap Press of Harvard University Press|year=1981|id=ISBN 0-674-88216-4, translated from the Italian by Gerald Fitzgerald, 2nd ed. Fact|date=May 2008 ]

Reflecting on Charles Baudelaire's complaint that “the man of letters is the enemy of the world” and Stéphane Mallarmé's distress over the isolation of the creator in “this society that will not let him live”, Poggioli opines that beyond having habitually non-conformist postures, Avant-garde creators have historically existed in a state of mutual antagonism towards both the public and tradition.Citequote|date=May 2008 As pioneers, avant-gardes have shunned popularity, seeing those who are popular as producing complacent or compromised work. This is also why avant-gardists have abhorred fashion, judging it to deal in stereotypes, falsehoods and insincere sentiments. Their iconoclasm has witnessed avant-gardes taking positions against current trends; but as pioneers they will also adopt a strong ‘down-with-the-past’ attitude. Vanguardists are committed to new ideals, seeing traditions, institutions and orthodoxies as outmoded prisons of convention.Fact|date=May 2008

Taken together, these traits mean that avant-gardes are often estranged from society. This has taken several forms, as some creators were socially alienated. It has been common for avant-gardes to declare their opposition to the bourgeoisie class in particular. Their antagonism towards accepted values and approaches has also meant that historically their audience has tended to be the intelligentsia. Poggioli further tries to classify avant-gardes according to four conceptual dispositions: Nihilism, Agonism, Futurism, and Decadence.Fact|date=May 2008

Other authors have attempted to both clarify and extend Poggioli's study. The German literary critic Peter Bürger's "Theory of the Avant-Garde" (1974) looks at the Establishment's embrace of socially critical works of art and suggests that in complicity with capitalism, "art as an institution neutralizes the political content of the individual work." [cite book|author=Bürger, Peter|title=Theorie der Avantgarde|publisher=Suhrkamp Verlag|year=1974 English translation (University of Minnesota Press) 1984: 90. ] While the title of Bürger's essay is an explicit reference to Poggioli's, he makes several useful additions to the latter's groundbreaking study, such as the distinction between "historical" (Futurism, Dada, Surrealism) and "neo" avant-garde (Abstract Expressionism, Pop Art, Nouveau Réalisme, Fluxus, etc.).Fact|date=May 2008

Bürger's essay also greatly influenced the work of contemporary American art historians such as Benjamin H. D. Buchloh, while older critics like Bürger continue to view the postwar neo-avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century, others like Clement Greenberg view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Buchloh, in the collection of essays "Neo-avantgarde and Culture Industry" (2000) critically argues for a dialectical approach to these positions. [cite book|author=Buchloh, Benjamin|title=Neo-avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975|publisher=MIT Press|year=2001|id=ISBN 0262024543] In the postmodern period, Jean-Francois Lyotard and Griselda Pollock [Griselda Pollock, "Avant-Garde Gambits: Gender and the Colour of Art History" (London: Thames and Hudson, 1993); Fred Orton & Griselda Pollock, "Avant-Gardes and Partisans Reviewed" (Manchester: Manchester University Press, 1996). ISBN 0-7190-4398-0 ISBN 0-7190-4399-9] have re-articulated the Avant-Garde in art.

Avant-garde and mainstream society

The concept of avant-garde refers exclusively to marginalised artists, writers, composers and thinkers whose work is not only opposed to mainstream commercial values, but often has an abrasive social or political edge. Many writers, critics and theorists made assertions about vanguard culture during the formative years of modernism, although the initial definitive statement on the avant-garde was the essay "Avant-Garde and Kitsch" [ [http://www.sharecom.ca/greenberg/kitsch.html "Avant-Garde and Kitsch"] written by the New York art critic Clement Greenberg and published in the journal "Partisan Review" in 1939.] As the essay’s title suggests, Clement Greenberg conclusively showed not only that vanguard culture has historically been opposed to ‘high’ or ‘mainstream culture’, but that it also has rejected the artificially synthesized mass culture that has been produced by industrialization. Each of these media is a direct product of Capitalism – they are all now substantial industries – and as such they are driven by the same profit-fixated motives of other sectors of manufacturing, not the ideals of true art. For Greenberg, these forms were therefore "kitsch": they were phony, faked or mechanical culture, which often pretended to be more than they were by using formal devices stolen from advanced or vanguard culture. For instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. It was a matter of style without substance. In this sense Greenberg was at pains to distance true avant-garde creativity from the market-driven fashion change and superficial stylistic innovation that are sometimes used to claim privileged status for these manufactured forms of the new consumer culture.

A similar view was likewise argued by assorted members of the Frankfurt School, including Theodor Adorno and Max Horkheimer in their essay "" (1944), and also Walter Benjamin in his highly influential "The Work of Art in the Age of Technical Reproduction" (1936) [ [http://bid.berkeley.edu/bidclass/readings/benjamin.html "The Work of Art in the Age of Mechanical Reproduction"] by Walter Benjamin] . Where Greenberg used the German word "kitsch" to describe the antithesis of avant-garde culture, members of the Frankfurt School coined the term mass culture to indicate that this bogus culture is constantly being manufactured by a newly emerged Culture industry (comprising commercial publishing houses, the movie industry, the record industry, the electronic media). They also pointed out that the rise of this industry meant that artistic excellence was displaced by sales figures as a measure of worth: a novel, for example, was judged meritorious solely on whether it was a best-seller, music succumbed to ratings charts and the blunt commercial logic of the Gold disc. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales increasingly became the measure, and justification, of everything. Consumer culture now ruled.

Despite the central arguments of Greenberg, Adorno and others, the term ‘avant-garde’ has been appropriated and misapplied by various sectors of the culture industry since the 1960s, chiefly as a marketing tool to publicise popular music and commercial cinema. It is now common to describe successful rock musicians and celebrated film-makers as avant-garde, the very word having been stripped of its proper meaning. Noting this important conceptual shift, major contemporary theorists such as Matei Calinescu in "Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism" (1987), and Hans Bertens in "The Idea of the Postmodern: A History" (1995), have suggested that this is a sign our culture has entered a new post-modern age, when the former modernist ways of thinking and behaving have been rendered redundant.

Nevertheless the most incisive critique of the vanguardism against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. [cite book|author=Rosenberg, Harold|title=The De-Definition of Art: Action Art to Pop to Earthworks|publisher=Chicago University Press|year=1983|id=ISBN 0-226-72673-8Fact|date=May 2008 . Originally published: New York: Horizon Press, 1972; reprinted New York: Collier Books, 1973.] Trying to strike a balance between the insights of Renato Poggioli and the claims of Clement Greenberg, Rosenberg suggested that from the mid-1960s onward progressive culture ceased to fulfill its former adversarial role. Since then it has been flanked by what he called 'avant-garde ghosts' to the one side, and a changing mass culture on the other, both of which it interacts with to varying degrees. This has seen culture become, in his words, ‘a profession one of whose aspects is the pretense of overthrowing it.’



Avant-garde in music may refer, among other things, to an extreme form of musical improvisation in which little or no regard is given by soloists to any underlying chord structure or rhythm, such as free jazz and some forms of noise music.Fact|date=May 2008 It can refer to any form of music working within traditional structures while seeking to breach boundaries in some manner.David Nicholls (ed.), "The Cambridge History of American Music" (Cambridge and New York: Cambridge University Press, 1998), 122–24. ISBN 0521454298 ISBN 9780521545549]

Musique concrète (meaning "concrete music" in French) is a technique, used sometimes in avant-garde music, that starts from recorded acoustical sounds (which may be from traditional musical instruments or singing or speaking voices, as well as from natural environmental sounds and other non-inherently musical noises, or even electronically generated sounds) which are transformed in the recording studio to create musical structures.Fact|date=May 2008 Pieces that have used "Musique concrète" include "Étude aux chemins de fer" (1948) and "Variations sur une flûte mexicaine" (1949) by Pierre Schaeffer, "Revolution 9" by The Beatles (1968), "Lumpy Gravy" by Frank Zappa (1967), "1983... (A Merman I Should Turn to Be)" by Jimi Hendrix and "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" by Pink Floyd (1969).Fact|date=April 2008 Influences of musical improvisation, free jazz and minimalism can be found on The Velvet Underground album "The Velvet Underground & Nico" (1967) and on Patti Smith's "Horses" (1975).Fact|date=April 2008

Avant-garde art movements

*Abstract expressionism
*Angry Penguins (Australian modernists)
*Ars subtilior
*Art nouveau
*Asemic writing
*Cinema pur
*Conceptual art
*De Stijl
*Dogme 95
*Drop Art
*Electronic art music
*Epic Theatre
*Free Jazz
*Industrial music
*Lyrical Abstraction
*Mail art
*Minimal Art (Minimalism)
*Musique Concrète
*Neue Slowenische Kunst
*Noise Music
*No Wave
*Pop art
*Progressive rock
*Situationist International
*Social realism
*Space music
*Theatre of Cruelty

References and notes

ee also

*Russian avant-garde
*Experimental film
*Experimental music
*Experimental theatre
*Experimental literature
*Avant-garde metal
*List of avant-garde artists

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  • avant-garde — [ avɑ̃gard ] n. f. • avantgarde XIIe; de 1. avant et 1. garde 1 ♦ Partie d une armée qui marche en avant du gros des troupes. Combats d avant garde. Des avant gardes. Par métaph. À L AVANT GARDE DE : à la pointe de, en tête de. Avignon « se… …   Encyclopédie Universelle

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  • avant-garde — ► ADJECTIVE ▪ (in the arts) new and experimental. ► NOUN (the avant garde) ▪ avant garde ideas or artists. DERIVATIVES avant gardism noun avant gardist noun. ORIGIN French, vanguard …   English terms dictionary

  • avant-garde — a*vant garde ([.a]*v[aum]nt g[aum]rd ), n. [F. avant before + E. guard, F. avant garde. See {Avaunt}.] The most advanced group of people in any field of endeavor, especially in literary and artistic work, usually characterized by new ideas and… …   The Collaborative International Dictionary of English

  • avant-garde — AVANT GARDE. s. f. La partie la plus avancée d une armée qui marche en bataille. L avant garde étoit commandée par un tel Lieutenant Général. L avant garde plia …   Dictionnaire de l'Académie Française 1798

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