![]() Spontaneity has been deconstructed many times for gestural works of abstract paintings, but art historians have never gone so far as to consider these abstract paintings as traces of dance. This talk is considering the processes of abstract painting as a process of choreographic knowledge. Within this process, the whole body that acts on the “canvas floor” was determined as the body of a dancer. Several painters of the postwar era have laid the canvas on the floor. Finally, a statement will be given to answer the question about Hettner’s level of imitation, innovation, and originality. Using few significant examples of artworks this paper gives a first look into research results and highlights, how Hettner was imitating the inspiring contemporary French art, how he transformed these ideas and developed his own concept while appropriating French impressionism, and how he endeavored to create a new German art. Besides that he created paintings with an obvious influence of symbolism, visible through ornamental styles, solidified forms, outstanding outlines, and an intense interest for illustrating different topics. One mode to illustrate his objects he found in a spontaneous way of painting things quickly “en plein air,” using the brush strokes and pure colors like the French impressionists did and concentrating on painting atmospheric, light-flooded moments. During his stay in Paris, Hettner developed two different modes of painting, which he tried to combine within the following years. The young German artist Otto Hettner was enrolled at the Académie Julian and has lived in this inspiring city for nearly ten years. This paper focuses on artworks made around 1900 in Paris. Does the term’s contemporary emphasis on rupture isolate the work of these women from other traditions of art-making and activism not yet written into history? This panel invites papers that deepen or expand critical discourses addressing the work of artists included in or related to either exhibition to promote a more nuanced understanding of their work and of other practices to which they may respond. Has “radical” merely replaced “original” in art historians’ vocabularies as a means to contend with the significance of an artist’s practice? Or does the term respond to increasing demands for a consideration of the overlap of an artist’s work with her political engagements to measure its success? Furthermore, “radical,” despite its Latin origins linking it to the word “root,” suggests a break from convention. However, the word “radical” present in both exhibitions’ titles has become a commonplace in recent art criticism, which may also signal the term's progressive emptying out. ![]() Two recent exhibitions, We Wanted a Revolution: Black Radical Women, 1965-85 and Radical Women: Latin American Art, 1960–1985, examined the groundbreaking contributions of Black and Latin American women to the art and political struggles of the period. ![]()
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