cinema as an art, form maya deren

In Meshes, a woman falls asleep at home and imagines an episode involving multiples of herself, a recurring slippage of her house key out of her mouth, a flower that she finds in the street, a knife that she finds on the table, a black-shrouded figure with a mirror for a face, and Hammid himself, who comes home, sees one of the Derens in bed, and approaches her with a tentative eroticism. She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou. Industrial, Educational, and Instructional Television and Latina/o Americans in Film and Television. Derens last decade was a depressing decrescendo. In the Mirror of Maya Deren, 2001. The institutional subscription may not cover the content that you are trying to access. Deren, whose coterie had expanded to include many in the downtown artistic beau monde, became a major socialite in bohemian circles, turning the couples apartment into a center of parties and gatherings, and her connections proved galvanic. The link was not copied. written by experimental filmmaker (of the 1940s and 1950s), Maya Deren, because I have seen her famous film, Meshes of the Afternoon in Film 101B; in this . Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience. Westport, CT: Praeger, 2007. Interestingly, the idea of horizontality and verticality is also studied by Ferdinand de Saussure (1857-1913), a Swiss linguist famous for his distinction between the signified and the signifier, who developed a model which specifies the distinction between the syntagmatic (horizontal) and the . The concept of working in a multidisciplinary form across media and processes has become more prevalent in modern day culture. Yet, unlike Welles, who made his movie fame when he was hired by a studio that then released his film, and when critics recognized his originality, Deren created Meshes in the absence of institutional, organizational, or even intellectual frameworkswhich she took upon herself to construct, too. Her >influence, especially in independent film, has not only endured but also >increased in the decades following her death. In 1943, she moved to a bungalow on Kings Road in Hollywood[4] and adopted the name Maya, a pet name her husband Hammid coined. She stated, "I make my pictures for what Hollywood spends on lipstick," and observed that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form." A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited. 1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs.[9]. DVD. Ritual in Transfigured Time began in August and was completed in 1946. Maya Deren. Maya Deren. Sitney, P. Adams, ed, The Film Culture Reader, Prager Publishers Inc., New York, 1970 The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. She also wrote a theoretical tract in An Anagram of Ideas on Art, Form and Film (1946), which is testimony to her dictum that artists need to educate themselves in old and new . Maya Deren and David Lynch are brilliant directors not merely because of their vivid images or ability to tell a story without precisely telling a story. . From about 1910, however, signs emerged that cinema was on the road to acquiring some sort of legitimacy. Filled with primary documents, incorporating interviews with Alexander Hammid and her large circle of friends and colleagues in the art world, as well as reprints of Maya Derens photography, poetry, essay, and film notes. In 1941 and 1942, Deren travelled with Dunham and her dance troupe throughout the United States. Discusses film as an independent art form and asserts that it should not be seen as merely a way to illustrate a . She then created a scholarship for experimental filmmakers, the Creative Film Foundation.[25]. It is said that she was named after According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory. cinema as an art, form maya deren. The Legend of Maya Deren. Bill Nichols, 267-322. From about 1910, however, signs emerged that cinema was on the road to acquiring some sort of legitimacy. [27] The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty. "[35] Her third husband, Teiji It, said: "Maya was always a Russian. She was always dressed up, talking, speaking many languages and being a Russian."[35]. 1917d. New York: Maple-Vail, 1984. The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house. It seems to investigate the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations. Deren was transformed by this relationship and embraced her new life by changing her name, in 1943, to Maya. With inheritance from her father, she bought a 16mm Bolex camera and made her first film with Hammid, Meshes of the Afternoon, detailed by Kudlcek 2004. Meshes of the Avant-Garde Maya Deren was a director and actress, best known for her work as an experimental filmmaker. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Typically, access is provided across an institutional network to a range of IP addresses. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. We spent a great deal of time talking about her. In a frenzy of creation and organization, Deren seemingly ordered the world around her, at least for a crucial moment, to fit into a pattern of her own design. I liked her bohemianismshe had no hours. Born Eleanora Derenkowsky in Kiev, Russia, on April 29, 1908 (some sources cite 1917); died of cerebral hemorrhage in St. Shot on 16mm film, made for just a few hundred dollars and with only two people, Deren and her husband (Czech filmmaker Alexandr Hackenschmied, who changed his name to Alexander Hammid after immigrating to America), her first film was hugely influential. A biography filled with primary documents from Derens life, including letters, photographs, and interviews with key figures in her life, such as her mother, first husband, friends, employers, and family. Her three trips to Haiti occupied much of her timenineteen monthsthrough 1950. Expand or collapse the "in this article" section, Anthropological and Ethnographic Research, Expand or collapse the "related articles" section, Expand or collapse the "forthcoming articles" section, Cinema and Media Industries, Creative Labor in, Film Theory and Criticism, Science Fiction. Along with her furious repudiation of Hollywood formulas, celebrity worship, and commercialism, Deren also rejected the prevailing notions of documentary filmmaking. (While filming on the beach at Amagansett, Deren chanced to meet Anas Nin, and they quickly became friends.). Choose this option to get remote access when outside your institution. The Guggenheim Fellowship grant in 1947 enabled Deren to finance her travel and complete her film Meditation on Violence. This combination of dance and film has often been referred to as "choreocinema", a term first coined by American dance critic John Martin. The Legend of Maya Deren, Vol. "[30] Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking. Deren was an avant-garde version of Lana Turner (a young non-actress who was discovered at the counter of a soda fountain), but Deren was ready not to be discovered but to discover herself, by way of a movie that she would make. (Durant reports that, in their travels together in the Jim Crow South, the blue-eyed Derenwho had a mighty mass of curly red hairwas taken for Black or of mixed race.). . June 16, 2022; Posted by usa volleyball national qualifiers 2022; 16 . 35 Copy quote. ), Maya Deren and the American Avant-Garde. Some societies use Oxford Academic personal accounts to provide access to their members. Three years later, mother and child returned to Syracuse; Deren enrolledat sixteenat Syracuse University, where she and another student, Gregory Bardacke, a Communist and a football player, fell in love. The careers of the American independent filmmakers who rode that new wavewhether the ones who made it to Hollywood, such as Martin Scorsese and Brian De Palma, or the ones who didnt, such as Juleen Compton and Peter Emanuel Goldmanwould be unthinkable without hers. tbc draenei shaman leveling guide 1 Sekunde ago . They speak about the difficult project of demythologizing Derens persona while also preserving her legend. In the first moments of the film, the woman (Deren) enters a . 1988. Above all, she both championed and embodied the idea that movies were art and, indeed, the art of the time. A list of these articles are found in: Sullivan, 1997, pp.199-218. Another interpretation is that each film is an example of a "personal film". Early Life Maya Deren was born Eleanora Derenkowsky on April 29, 1917. [24], In 1946, she was awarded a Guggenheim Fellowship for "Creative Work in the Field of Motion Pictures", and won the Grand Prix Internationale for 16mm experimental film at the Cannes Film Festival for Meshes of the Afternoon. In a notebook, she described her desire to film a street scene in Haitithe passings, the crossings, the meetings and greetingsas a piece of music not haphazard at all but rhythmic, with motifs and developments, a fugue form where each individual is pursuing his own destiny. She wrote, in 1946, that for more than anything else, cinema consists of the eye for magicthat which perceives and reveals the marvelous in whatsoever it looks upon. In Haiti, Deren befriended Haitians and immersed herself in the religious rituals of vodou, butjudging from a posthumous assemblage of her footageshe neither fulfilled her vast ambition for creative nonfiction nor offered an illuminating reportorial depiction of what she was experiencing. I could move directly from my imagination into film, she wroteand so she did, with hardly a trace of her lived experience. " The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-Garde." Biography 29 (1): 140 -58. This Kino blu ray Maya Deren Collection will be one of the premier releases of 2020. Durants book itself, twenty years in the making, bears the illumination of fanatical research and passionate empathy forpractically an inhabiting ofDerens inner world. What HBOs Chernobyl got right, and what it got terribly wrong. Her mere presence beamed onto the screen her vast inner worlds of emotion and intellect. She set herself in opposition to the Hollywood film industry's standards and practices. Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time,[28] though Mulvey later would give Deren this recognition, since their works were often in conversation with each other.[29]. Derens performance is arch, hectic, more artificial than stylizedher efforts at acting are exaggerated and flat, as if she were trying and failing to put herself over. Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U.S.A."[30] In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded. Deren was quickly introduced to high artistic circles through her work as a portrait photographer for magazines such as Vogue and Vanity Fair. [43][44][45] All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. She would work like a bee to get noticed, shaking around, carrying on. Theres a special, melancholy tinge to the fate of those who were themselves at the forefront of the very revolutions that left them behind. [26], In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon. Gene Kelley consulted Deren about her work in ' choreocinema ', or dance films which include A Study in Choreography for Camera with Talley Beatty in 1945 and Ritual in Transfigured Time with Rita Christiani, Anais Nin and Frank Westbrook and her 'tour de force' ethnographic footage shot in Haiti during the 1950's.. That summer, she and Hammid made a fourteen-minute film, Meshes of the Afternoon, on a budget of two hundred and seventy-five dollars. A woman, played by Maya Deren, walks to her friend's house in Los Angeles, falls asleep and has a dream. Rather, its Derens miraculous transformation from a private do-it-yourself artist to a public figure, and then a historic onefrom an outsider, working at home, to the spokesperson and the heroine not only of her own cinematic venture but of the entire form of cinema in which she worked, for which she advocated, and that she established as a prime art form of her time. In early 1943, Derens father died and left her a small sum of money, with which she bought a movie camera, a 16-mm. Photographed by Hella Heyman. Maya Deren and the American Avante Garde. Some societies use Oxford Academic personal accounts to provide access to their members. [27], A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine. She was born in Kyiv, Ukraine and came from a well-regarded Jewish family . Her parents were Jewish, prosperous, and educated. The movie also has elements of erotic fantasy, as when she strolls with a man who turns out to be four different ones (including Hammid and the composer John Cage), she follows Hammid into a cabin and instead finds yet another man there in a bed, andback on the beachshe stumbles upon two women playing chess and joyfully caresses one players head. Our books are available by subscription or purchase to libraries and institutions. Her last completed film, The Very Eye of Night, which transformed live-action footage of the choreographer Antony Tudors student dancers into animation, was shot in 1952 and finished only in 1956. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. Credit Solution Experts Incorporated offers quality business credit building services, which includes an easy step-by-step system designed for helping clients build their business credit effortlessly. Then, just as quickly, she fell out of that world, never to return in her too-brief lifetime. In college it always seemed like the guys who were poets got more girls than the prose writers. [33] It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence. [11], Deren began college at Syracuse University, where she studied journalism[12] and political science, and also became a highly active socialist leader during the Trotskyist movement. In 1930, Marie, who was unhappy in the provincial city, took her daughter to Geneva, where the precocious girl was acclaimed as a poet by her classmates and also became an enthusiastic photographer. Geller, Theresa L. The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-Garde. Thats the story told in Maya Deren: Choreographed for Camera, Mark Alice Durants new biography of the filmmaker (published by Saint Lucy Books), and its thrilling and terrifying. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. Indeed, the wealth of this material has produced one of the most complete biographies of an artist: The Legend of Maya Deren. Invocation: Maya Deren. In April, 1945, she made another film, A Study in Choreography for Camera, featuring the dancer Talley Beatty, also a Dunham alumnus, and it attracted attention in the world of dance. 0 ratings 0% found this document useful (0 votes) 719 views 11 pages. Do not use an Oxford Academic personal account. By twenty, she had completed her undergraduate degree and was divorced, struggling to support herself as a poet and journalist. Winner: 2005 Book of the Year Bronze Award for Performing Arts. The film's protagonist, played by dancer Rita Christiani, enters the frame and with her arm raised moves towards the room occupied by 'Maya' as if compelled to do so. She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers. ISBN 0 520 22732 8. Copy this link, or click below to email it to a friend. It covers aspects of her personal life, her most famous films, and important references to her founding of the Creative Film Foundation and related involvement with Amos Vogels Cinema 16. Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space. It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about women and the individual. Maya Deren (born Eleonora Derenkowska, Ukrainian: ; May 12[O.S. Berkeley: University of . "Divine Horsemen: The Living Gods of Haiti", McPherson & Company. In 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack. Deren's legacy is palpable in Lynch's will to externalize the psyche through cinema. Screenwriter. Because of her sometimes-difficult nature, Durant writes, Derens social life and her artistic activities, which were so closely connected, narrowed. [4] Of two still photography magazine assignments of 1943 to depict artists active in New York City, including Ossip Zadkine, her photographs appeared in the Vogue magazine article. [9] He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse. [4] In September, she divorced Hammid and left for a nine-month stay in Haiti. 2023 Cond Nast. (Her father, Solomon, was a doctor; her mother, Marie, had studied piano and economics.) The high-art audience that she galvanized for her filmsthe audience that then filled the seats at Cinema 16 and devoured Mekass column in the Voicewould soon be ready to see the high art of movies in places where Deren didnt, in Hollywood films. Her relationship with Bateson ended in disasterhe snuck off to Germany without telling her.) Derens relentless quest for what was extraordinary about her inner life came at the expense of what was already extraordinary in her outer one. The sin. In 1944 Maya made a film at the Peggy Guggenheim Art of this Century Gallery . Until now, Maya Deren's essays on the art and craft of filmmaking have not been available in a comprehensive volume equally handy for students . An Outlier to the Pictures Generation Gets Her Due. I think sex was her great ace. These signs initially pointed in different directions, but eventually a cluster of forms developed, which were to become the cinema as we know it today. Documentary, she complained, lacked art and imagination; she envisioned nonfiction filmmaking, of the sort that she was undertaking in Haiti, to be as creative as the fantasies that she filmed at home. Selfies; Instagram; Facebook; Twitter; Pinterest; Flickr; About Us. However, it is the life and art community established by Deren in New York City that garners most attention. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film. In the December 1946 issue of Esquire magazine, a caption for her photograph teased that she "experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic. WRITINGS ON FILM BY Maya Deren Edited with a preface by Bruce R. McPherson DOCUMENTEXT 'kingston, New York Essential Deren : Film Poetics 8 movement of wind, or water, children, people . In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement. Avant-Garde: The Case of Maya Deren", "Go Inland, young woman! (Regarding Derens academic literary studies, Durant writes that her research on the Symbolist and Imagist poets gave her foundational language on which she would rely, at least intuitively, when she approached filmmaking in the early 1940s.) She rejected Hollywood in toto, and allowed the dime-store macabre of B movies to infiltrate her sensibility. After the October Revolution, her father was conscripted into battle with Bolshevik forces, and Eleanora and her mother endured illness and poverty at home. 48 Copy quote. Deren was not quite a dancer, untrained as an actor, but endowed with charisma and temperament, craving not so much to be seen as to be recognized, turning her tumultuous private social life into a kind of performance. Publisher: University of California Press. April 29] 1917 - October 13, 1961) was a Ukrainian-born American experimental filmmaker and important promoter of the avant-garde in the 1940s and 1950s. Nichols (2001), page 18. Until now, Maya Deren's essays on the art and craft of filmmaking have not been available in a comprehensive volume equally handy for students, film enthusiasts, and scholars. Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night. As a woman in her mid-twenties, Deren was an artist without portfolio, endowed with a poets imaginative flamboyance and a photographers sense of visual composition, to which she added an activists revolutionary fervor, aptitude for advocacy, and organizational practicality. Perhaps the only book-length study of Deren's films and theories in relation to each other. The hectic distortions and special effects that Hammid created give the movie its mind-bending intensity, whereas Derens presence gives it its allure and its personality. (Vogel was also one of the founders of the New York Film Festival, which was launched in 1963.). [13] The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s. [22], Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring. Deren was also a choreographer, dancer, poet, writer and photographer.BiographyEarly lifeDeren was born in Kiev, Ukraine to Solomon Derenkowsky and Marie Fiedler. She edited a brochure with blurbs from notables (including Nin) and a short essay of her own, papered the Village with handmade fliers, and extended personal invitations to major critics. cinema as an art, form maya deren | Posted on May 31, 2022 | resultat rugby auvergne 1re srie sams secrtaire mdicale In the years before World War I there were few people who thought that cinema was or might become an art form. In 1939, while employed as an elder writers secretary, Deren eventfully pursued an obsession. . Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation." [27] She also regularly explored themes of gender identity, incorporating elements of introspection and mythology. In 1946, Maya Deren, theorist, poet, and avant-garde filmmaker, wrote a treatise entitled An Anagram of Ideas on Art, Form, and Film. She received a master's degree in English literature at Smith College. Deren, as Durant notes, was already deeply devoted to the art of dance, even though she had no training, and she more or less imposed herself on Dunham as a secretary and assistant. An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti. Then there is Derens paradigm-shifting anthropological research on Voudoun in Haiti, which, while influenced by founders of the field such as Gregory Bateson and Margaret Mead, modeled an outsider ethnographic approach rejecting the dogmas of the previous generation. | Scanners | Roger Ebert", "Divine Horsemen - The Voodoo Gods Of Haiti", Martina Kudlek (director of "In the Mirror of Maya Deren") by Robert Gardner BOMB 81/Fall 2002, Article on Maya Deren: seven films that guarantee her legend, Maya Deren biography from Jewish Women's Archive, Divine Horsemen: The Voodoo Gods of Haiti, A Sunday Afternoon on the Island of La Grande Jatte, https://en.wikipedia.org/w/index.php?title=Maya_Deren&oldid=1141681134, American people of Ukrainian-Jewish descent, White Russian emigrants to the United States, Short description is different from Wikidata, Pages using infobox person with multiple spouses, Articles containing Ukrainian-language text, Articles with unsourced statements from March 2020, Creative Commons Attribution-ShareAlike License 3.0, Toronto Film Society workshop; unreleased, unfinished, Original footage shot by Deren (19471954); reconstruction by, Recorded by Maya Deren; design [cover]: Teiji It; liner notes: Cherel Ito, Deren appears as a character in the long narrative poem, In 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled, In 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled, Grand Prix Internationale for Amateur Film, Her most widely read essay on film theory is probably, This page was last edited on 26 February 2023, at 07:20. Photographs courtesy Saint Lucy Books / Howard Gotlieb Archival Research Center / Boston University. Maya Deren, Bruce McPherson (Editor) 4.42. Indeed, she continues to inspire a wide range of artists, from filmmakers to visual artists and musicians. Her research covers studio and independent film production in America during the 1940s. Certain symbols reoccur on the screen, including a cloaked, mirror-faced figure, and a key, which becomes twinned with a knife. The sin. It shows a progression from nature to the confines of society, and back to nature. The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space. When on the institution site, please use the credentials provided by your institution. As for the specific influence of Derens artistry, it radiated outward in many directions and inspired a wide range of avant-garde filmmakers, such as Shirley Clarke (who began her career with highly aestheticized dance films), Yvonne Rainer (who filmed personal psychodramas), Mekas (who built his first feature around disjointed, B-movie-like fantasies), and Barbara Hammer (who derived from Derens work a radical feminist cinema). Referred to as poetic psychodrama, the film was ahead of its time with its focus on depicting fragments of the unconscious mind, externalising disjointed mental processes, dreams, and potential drama through poetic cinematic re-enactments brought to life We talk of rebellion, of being forced, of tyranny, but we bow to her projects, make sacrifices. Nin cites the power of her personality and notes her determined voice, the assertiveness and sensuality of her peasant body, her dancing, drumming; all haunted us. Deren was born Eleanora Derenkowsky in 1917 in Kyiv, Ukraine. She made several other films before her untimely death at age forty-four. Her parents immigrated to Syracuse, New York, when Maya was very young; she was a naturalized US citizen before she reached her teens. It features a wide range of footage including film from Derens journeys to Haiti, interviews with Jonas Mekas and Stan Brakhage, and recordings of Derens lectures. So far, so goodthe very essence of movies is to be the art for artists who dont have an art. As most film historians agree, it carved a path for the American avant-garde and gave rise to underground cinema, shepherding European modernism into the film experiments of such filmmakers as Stan Brakhage, Shirley Clarke, Andy Warhol, David Lynch, and Cindy Sherman. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene. One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness. Biography 29.1 (2006): 140. According to the earliest program note, she describes Meshes of the Afternoon as follows: This film is concerned with the interior experiences of an individual. In the Mirror of Maya Deren **** (Masterpiece) Directed by Martina Kudlacek. Deren's Meditation on Violence was made in 1948. Lewiston, NY: Edwin Mellon Press, 2002. The film footage is housed at Anthology Film Archives in New York City. Original Title: . There were few left in her New York circle who were willing to subject themselves to her demands.. April 29]1917[1][2] October 13, 1961) was a Ukrainian-born American experimental filmmaker and important promoter of the avant-garde in the 1940s and 1950s.

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