View source for Avant-garde

{{short description|Works that are experimental or innovative}}
{{Other uses}}
{{Disputed|date=August 2023}}
{{Use dmy dates|date=March 2023}}
[[File:The Love of Zero, 35mm film Robert Florey1928.jpg|thumb|right|300px|Avant-garde cinema, ''The Love of Zero'' (1928), a short film directed by the artist [[Robert Florey]]<ref>{{youTube|aPEBUJJUICc|title=''The Love of Zero'' }}</ref>]]

In the [[art]]s and [[literature]], the term '''''avant-garde''''' ({{ety|fr}} meaning {{gloss|advance guard}} or {{gloss|[[vanguard]]}}) identifies an experimental [[genre]] or [[work of art]], and the [[artist]] who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic [[The Establishment|establishment]] of the time.<ref>Avant-garde, ''Penguin Dictionary of Literary Terms and Literary Theory'' Third Edition (1991) J.A. Cuddon Ed. p. 74.</ref> The military metaphor of an ''advance guard'' identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and [[Aesthetics|aesthetic]] validity of the established forms of art and the literary traditions of their time; thus, the artists who created the [[anti-novel]] and [[Surrealism]] were ahead of their times.<ref>Avant-garde, ''A Handbook to Literature'' (1980) Fourth Ed. (1980) C. Hugh Holman, Editor. pp. 41–42.</ref>

As a stratum of the [[intelligentsia]] of a society, avant-garde artists promote progressive and radical politics and advocate for societal reform with and through works of art. In the essay "The Artist, the Scientist, and the Industrialist" (1825), [[Olinde Rodrigues|Benjamin Olinde Rodrigues]]'s political usage of ''vanguard'' identified the [[Morality|moral obligation]] of artists to "serve as [the] avant-garde" of the people, because "the power of [[Art|the arts]] is, indeed, the most immediate and fastest way" to realise social, political, and economic reforms.<ref>Calinescu, Matei. ''[https://www.dukeupress.edu/five-faces-of-modernity/ The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism] {{Webarchive|url=https://web.archive.org/web/20220414203013/https://www.dukeupress.edu/five-faces-of-modernity/ |date=14 April 2022 }}'' (Durham: Duke University Press, 1987) pp. 00-00.</ref>

In the realm of culture, the artistic experiments of the avant-garde push the aesthetic boundaries of [[Norm (sociology)|societal norms]], such as the disruptions of [[modernism]] in poetry, fiction, and drama, painting, music, and architecture, that occurred in the late 19th and in the early 20th centuries.<ref>Modernism, ''Penguin Dictionary of Literary Terms and Literary Theory'' Third Edition (1991) J.A. Cuddon Ed. p.p.550–551.</ref> In [[art history]] the socio-cultural functions of avant-garde art trace from [[Dada]] (1915–1920s) through the [[Situationist International]] (1957–1972) to the [[postmodernism]] of the American [[Language poets]] (1960s–1970s).<ref>Avant-garde, Williams, Raymond. "The Politics of the Avant-Garde", ''The Politics of Modernism'' (Verso 1989) p. 000.</ref>

== History ==
[[File:Overthrow of Autocracy.jpg|thumb| Political revolution has influenced both the topic and form in ''The Overthrow of the [[Autocracy]]'', a Soviet avant-garde painting circa the [[Russian Revolution]].]]
The French military term ''avant-garde'' (advanced guard) identified a [[reconnaissance|reconnaissance unit]] who scouted the terrain ahead of the main force of the army. In 19th-century French politics, the term ''avant-garde'' (vanguard) identified Left-wing [[political reform]]ists who agitated for [[radical politics|radical political change]] in French society. In the mid-19th century, as a cultural term, ''avant-garde'' identified a genre of art that advocated art-as-politics, art as an [[Aesthetics|aesthetic]] and political means for realising [[social change]] in a society. Since the 20th century, the art term ''avant-garde'' identifies a stratum of the [[Intelligentsia]] that comprises novelists and writers, artists and architects ''et al.'' whose creative perspectives, ideas, and experimental artworks challenge the cultural values of contemporary [[Bourgeoisie|bourgeois society]].<ref>{{cite book|title=Archispeak : An Illustrated Guide to Architectural Terms|author=Porter, Tom |date=2004|publisher=Taylor & Francis|isbn=0-415-30011-8|location=London|oclc=53144738}}</ref> 

In the U.S. of the 1960s, the post–WWII changes to American culture and society allowed avant-garde artists to produce works of art that addressed the matters of the day, usually in political and sociologic opposition to the cultural conformity inherent to [[popular culture]] and to [[consumerism]] as a way of life and as a [[worldview]].<ref>{{Cite book |last=Banes |first=Sally |url=https://www.jstor.org/stable/j.ctv11smn4s |title=Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body |date=1993 |publisher=Duke University Press |doi=10.2307/j.ctv11smn4s |jstor=j.ctv11smn4s |isbn=978-0-8223-1357-1 |access-date=11 October 2022 |archive-date=11 October 2022 |archive-url=https://web.archive.org/web/20221011045619/https://www.jstor.org/stable/j.ctv11smn4s |url-status=live }}</ref>

==Theories==
In ''The Theory of the Avant-Garde'' (''Teoria dell'arte d'avanguardia'', 1962), the academic [[Renato Poggioli]] provides an early analysis of the ''avant-garde'' as art and as artistic movement.<ref>{{Cite book|url=https://books.google.com/books?id=suPzDQAAQBAJ&pg=PA21|author1-first=Sascha|author1-last=Bru|author2-first=Gunther|author2-last=Martens
|title=The Invention of Politics in the European Avant-Garde (1906-1940)|date=2016|publisher=Brill|isbn=978-94-012-0252-7|page=21}}</ref> Surveying the historical and social, psychological and philosophical aspects of artistic vanguardism, Poggioli's examples of avant-garde art, poetry, and music, show that avant-garde artists share some values and ideals as contemporary [[Bohemianism|bohemians]].<ref>{{cite book|author=Renato Poggioli|title=The Theory of the Avant-Garde|publisher=Belknap Press of [[Harvard University Press]]|year=1968|isbn=0-674-88216-4|page=[https://archive.org/details/theoryofavantgar00pogg_0/page/11 11]|url=https://archive.org/details/theoryofavantgar00pogg_0/page/11}}, translator Gerald Fitzgerald</ref>

In ''Theory of the Avant-Garde'' (''Theorie der Avantgarde'', 1974), the literary critic Peter Bürger looks at [[The Establishment]]'s embrace of socially critical works of art as capitalist co-optation of the artists and the genre of avant-garde art, because "art as an institution neutralizes the political content of the individual work [of art]".<ref>{{cite book|author=Peter Bürger|title=Theorie der Avantgarde|publisher=Suhrkamp Verlag|year=1974}} English translation (University of Minnesota Press) 1984: 90.</ref>
 
In ''Neo-avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975'' (2000), [[Benjamin H. D. Buchloh]] argues for a [[dialectic]]al approach to such political stances by avant-garde artists and the avant-garde genre of art.<ref>Benjamin Buchloh, ''Neo-avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975'' (Cambridge: MIT Press, 2001) {{ISBN|0-262-02454-3}}.</ref>

==Society and the avant-garde==
{{see also|Media culture|Spectacle (critical theory)}}
[[File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|thumb|right|250px|The cultural provocation of avant-garde art: ''[[Fountain (Duchamp)|Fountain]]'' (1917) by [[Marcel Duchamp]].<br> ([[Alfred Stieglitz]])]]
[[File:Walter_Benjamin_vers_1928.jpg|thumb|right|250px|In "The Work of Art in the Age of Mechanical Reproduction" (1935), Walter Benjamin addresses the artistic and cultural, social, economic, and political functions of art in a capitalist society.]]
[[File:AdornoHorkheimerHabermasbyJeremyJShapiro2.png|thumb|right|300px|Intellectuals of the avant-garde: Max Horkheimer (left) and Theodor Adorno (right) at Heidelberg in 1965]]

Sociologically, as a stratum of the [[intelligentsia]] of a society, ''avant-garde'' artists, writers, architects, ''et al.'' produce artefacts — works of art, books, buildings — that [[Intellectualism|intellectually and ideologically]] oppose the conformist value system of mainstream society.<ref>"avant-garde", ''Penguin Dictionary of Literary Terms and Literary Theory'' Third Edition (1991) J.A. Cuddon, Ed. p.74.</ref> In the essay "[[Avant-Garde and Kitsch]]" (1939), [[Clement Greenberg]] said that the artistic vanguard oppose high culture and reject the artifice of [[mass culture]], because the avant-garde functionally oppose the [[dumbing down]] of society — be it with [[low culture]] or with [[high culture]]. That in a capitalist society each medium of mass communication is a factory producing artworks, and is not a legitimate artistic medium; therefore, the products of mass culture are ''[[kitsch]]'', simulations and simulacra of Art.<ref>{{cite magazine |last=Greenberg |first=Clement |date=Fall 1939 |title=Avant-Garde and Kitsch |url=http://hgar-srv3.bu.edu/collections/partisan-review/search/detail?id=283920 |magazine=The Partisan Review |pages=34–49 |volume=6 |issue=5 |access-date=24 January 2018 |archive-date=4 July 2018 |archive-url=https://web.archive.org/web/20180704213419/http://hgar-srv3.bu.edu/collections/partisan-review/search/detail?id=283920 |url-status=dead }}</ref>

Walter Benjamin in the essay "[[The Work of Art in the Age of Mechanical Reproduction]]" (1939) and Theodor Adorno and Max Horkheimer in the ''[[Dialectic of Enlightenment]]'' (1947) said that the artifice of [[mass culture]] voids the artistic value (the ''aura'') of a work of art.<ref>Walter Benjamin, "[http://bid.berkeley.edu/bidclass/readings/benjamin.html The Work of Art in the Age of Mechanical Reproduction]" {{webarchive |url=https://web.archive.org/web/20061205013822/http://bid.berkeley.edu/bidclass/readings/benjamin.html |date=5 December 2006 }}{{Full citation needed|date=June 2017}}</ref> That the capitalist [[culture industry]] (publishing and music, radio and cinema, etc.) continually produces artificial culture for mass consumption,<ref name="www.sociosite.net">{{Cite book|first=Theodor|last=Adorno|chapter=Culture industry reconsidered|title=The Culture Industry: Selected Essays on Mass Culture|place=London|publisher=Routledge|year=1991|orig-year=1975|archive-url=https://web.archive.org/web/20180929171800/http://www.sociosite.net/topics/texts/adorno_culture_reconsidered.pdf|archive-date=29 September 2018|chapter-url=https://www.sociosite.net|access-date=16 March 2023|url-status=dead}}</ref> which is facilitated by mechanically produced art-products of mediocre quality displacing art of quality workmanship; thus, the profitability of [[Commodity fetishism|art-as-commodity]] determines its artistic value.<ref name="www.sociosite.net" />

In ''[[The Society of the Spectacle]]'' (1967), [[Guy Debord]] said that the financial, commercial, and economic co-optation of the avant-garde into a commodity produced by [[neoliberal capitalism]] makes doubtful that avant-garde artists will remain culturally and intellectually relevant to their societies for preferring profit to cultural change and political progress. In ''The Theory-Death of the Avant-Garde'' (1991), [[Paul Mann]] said that the avant-garde are economically integral to the contemporary institutions of the Establishment, specifically as part of the [[culture industry]].<ref>Richard Schechner, "The Conservative Avant-Garde." ''New Literary History'' 41.4 (Autumn 2010): 895–913.</ref> Noting the conceptual shift, theoreticians, such as [[Matei Calinescu]], in ''Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism'' (1987),<ref>{{Cite book |last=Wang |first=Veria |title=Five Faces of Modernity: Modernism Avant-Garde Decadence Kitsch |date=25 December 1987 |url=https://www.academia.edu/10347423 |access-date=14 September 2022 |archive-date=15 January 2023 |archive-url=https://web.archive.org/web/20230115063717/https://www.academia.edu/10347423 |url-status=live |publisher=[[Duke University Press]] |isbn=0-8223-0726-X |oclc=827754153}}</ref> and Hans Bertens in ''The Idea of the Postmodern: A History'' (1995),<ref>{{Cite web |title=The Idea of the Postmodern: A History |url=https://www.routledge.com/The-Idea-of-the-Postmodern-A-History/Bertens/p/book/9780415060127 |access-date=14 September 2022 |website=Routledge & CRC Press |language=en |archive-date=7 June 2022 |archive-url=https://web.archive.org/web/20220607192138/https://www.routledge.com/The-Idea-of-the-Postmodern-A-History/Bertens/p/book/9780415060127 |url-status=live }}</ref> said that Western culture entered a post-modern time when the [[modernist]] ways of thought and action and the production of art have become redundant in a capitalist economy.<ref>Calinescu 1987,{{page needed|date=September 2012}}; Bertens 1995.{{page needed|date=September 2012}}</ref>

Scholars have highlighted the troubling associations of avant-garde movements with [[Authoritarianism|authoritarian politics]] and right wing movements in Europe like [[Nazism]] and [[Fascism]];<ref>{{Cite book |last=Sell |first=Mike |title=The Avant-garde: race, religion, war |date=2011 |publisher=Seagull Books |isbn=978-1-906497-99-6 |location=London, New York, NY, Calcutta}}</ref> avant-garde figureheads like the American poet [[Ezra Pound]], [[Wyndham Lewis]],<ref>{{Cite journal |last=Berman |first=R. |date=1980-10-01 |title=Fables of Aggression. Wyndham Lewis, the Modernist as Fascist |url=https://doi.org/10.3817/0980045193 |journal=Telos |volume=1980 |issue=45 |pages=193–197 |doi=10.3817/0980045193 |issn=0090-6514|url-access=subscription }}</ref> and the Italian futurist [[Filippo Tommaso Marinetti|F.T Marinetti]] and their alliances with twentieth century authoritarian politics have sparked controversy.

Parting from the claims of Greenberg in the late 1930s and the insights of Poggioli in the early 1960s, in ''The De-Definition of Art: Action Art to Pop to Earthworks'' (1983), the critic [[Harold Rosenberg]] said that since the middle of the 1960s the politically progressive avant-garde ceased being adversaries to artistic commercialism and the mediocrity of [[mass culture]], which political disconnection transformed being an artist into "a profession, one of whose aspects is the pretense of overthrowing [the profession of being an artist]."<ref>Rosenberg, Harold. ''The De-Definition of Art: Action Art to Pop to Earthworks'' (Chicago: University of Chicago Press, 1983), p. 219. {{ISBN|0-226-72673-8}}</ref><ref>Dickie, George. "[http://digicoll.library.wisc.edu/cgi-bin/Arts/Arts-idx?type=turn&id=Arts.ArtsSocv12i2&entity=Arts.ArtsSocv12i2.p0074&isize=text "Symposium on Marxist Aesthetic Thought: Commentary on the Papers by Rudich, San Juan, and Morawski] {{Webarchive|url=https://web.archive.org/web/20130530091349/http://digicoll.library.wisc.edu/cgi-bin/Arts/Arts-idx?type=turn&id=Arts.ArtsSocv12i2&entity=Arts.ArtsSocv12i2.p0074&isize=text |date=30 May 2013 }}", ''Arts in Society: Art and Social Experience: Our Changing Outlook on Culture'' 12, no. 2 (Summer–Fall 1975): p. 232.</ref>

Avant-garde is frequently defined in contrast to ''arrière-garde'', which in its original military sense refers to a [[rearguard]] force that protects the advance-guard.<ref>{{cite book|last1=Adamson|first1=Natalie|first2=Toby|last2=Norris|chapter=Introduction|title=Academics, Pompiers, Official Artists and the Arrière-Garde: Defining Modern and Transitional in France|editor1-first=Natalie|editor1-last=Adamson|editor2-first=Toby|editor2-last=Norris|publisher=Cambridge Scholars Publishing|year=2009|page=18}}</ref> The term was less frequently used than "avant-garde" in 20th-century art criticism.{{sfn|Adamson|Norris|2009|pp=17–18}} The art historians Natalie Adamson and Toby Norris argue that ''arrière-garde'' is not reducible to a [[kitsch]] style or [[reactionary]] orientation, but can instead be used to refer to artists who engage with the legacy of the avant-garde while maintaining an awareness that doing so is in some sense anachronistic.{{sfn|Adamson|Norris|2009|pp=18–19, 20}} The critic [[Charles Altieri]] argues that avant-garde and arrière-garde are interdependent: "where there is an avant-garde, there must be an ''arrière-garde''."<ref>{{cite journal|last=Altieri|first=Charles|authorlink=Charles Altieri|title=Avant-Garde or Arrière-Garde in Recent American Poetry|journal=[[Poetics Today]]|volume=20|issue=4|year=1999|page=633|jstor=1773194}}</ref>

==Examples==
===Music===
{{Main|Avant-garde music}}
Avant-garde in music can refer to any form of music working within traditional structures while seeking to breach boundaries in some manner.<ref name="iha">David Nicholls (ed.), ''[[iarchive:cambridgehistory0000unse_p0r8|The Cambridge History of American Music]]'' (Cambridge and New York: [[Cambridge University Press]], 1998), 122–24. {{ISBN|0-521-45429-8}} {{ISBN|978-0-521-54554-9}}</ref> The term is used loosely to describe the work of any musicians who radically depart from tradition altogether.<ref name="Samson">Jim Samson, "Avant garde", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]] (London: Macmillan Publishers, 2001).</ref> By this definition, some avant-garde composers of the 20th century include [[Arnold Schoenberg]],<ref name="Sitsky_xiv">Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), xiv. {{ISBN|0-313-29689-8}}.</ref> [[Richard Strauss]] (in his earliest work),<ref name="Sitsky_xiii">Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), xiii–xiv. {{ISBN|0-313-29689-8}}.</ref> [[Charles Ives]],<ref>Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), 222. {{ISBN|0-313-29689-8}}.</ref> [[Igor Stravinsky]],<ref name="Sitsky_xiv" /> [[Anton Webern]],<ref name="Sitsky_50">Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), 50. {{ISBN|0-313-29689-8}}.</ref>  [[Edgard Varèse]], [[Alban Berg]],<ref name="Sitsky_50" /> [[George Antheil]] (in his earliest works only), [[Henry Cowell]] (in his earliest works), [[Harry Partch]], [[John Cage]], [[Iannis Xenakis]],<ref name="Sitsky_xiv" /> [[Morton Feldman]], [[Karlheinz Stockhausen]],<ref>Elliot Schwartz, Barney Childs, and James Fox (eds.), ''Contemporary Composers on Contemporary Music'' (New York: Da Capo Press, 1998), 379. {{ISBN|0-306-80819-6}}</ref> [[Pauline Oliveros]],<ref name="Sitsky_xvii"/>  [[Philip Glass]], [[Meredith Monk]],<ref name="Sitsky_xvii">Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), xvii. {{ISBN|0-313-29689-8}}.</ref> [[Laurie Anderson]],<ref name="Sitsky_xvii"/> and [[Diamanda Galás]].<ref name="Sitsky_xvii"/>

There is another definition of "Avant-gardism" that distinguishes it from "modernism": Peter Bürger, for example, says avant-gardism rejects the "institution of art" and challenges social and artistic values, and so necessarily involves political, social, and cultural factors.<ref name="Samson" /> According to the composer and musicologist [[Larry Sitsky]], modernist composers from the early 20th century who do not qualify as avant-gardists include Arnold Schoenberg, Anton Webern, and Igor Stravinsky; later modernist composers who do not fall into the category of avant-gardists include [[Elliott Carter]], [[Milton Babbitt]], [[György Ligeti]], [[Witold Lutosławski]], and [[Luciano Berio]], since "their modernism was not conceived for the purpose of goading an audience."<ref name="Sitsky_xv">Larry Sitsky, ''Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook'' (Westport, Conn: Greenwood Press, 2002), xv. {{ISBN|0-313-29689-8}}.</ref>

The 1960s saw a wave of free and avant-garde music in [[jazz]] genre, embodied by artists such as [[Ornette Coleman]], [[Sun Ra]], [[Albert Ayler]], [[Archie Shepp]], [[John Coltrane]] and [[Miles Davis]].<ref>{{Cite web|title=Avant-Garde Jazz Music Genre Overview|url=https://www.allmusic.com/subgenre/avant-garde-jazz-ma0000002438|access-date=16 March 2023|website=AllMusic|language=en}}</ref><ref>{{cite news|author=Michael West|title=In the year jazz went avant-garde, Ramsey Lewis went pop with a bang|url=https://www.washingtonpost.com/entertainment/music/in-the-year-jazz-went-avant-garde-ramsey-lewis-went-pop-with-a-bang/2015/04/02/2484628c-cdb9-11e4-8a46-b1dc9be5a8ff_story.html|newspaper=[[The Washington Post]]|access-date=30 May 2020|archive-date=6 September 2020|archive-url=https://web.archive.org/web/20200906204831/https://www.washingtonpost.com/entertainment/music/in-the-year-jazz-went-avant-garde-ramsey-lewis-went-pop-with-a-bang/2015/04/02/2484628c-cdb9-11e4-8a46-b1dc9be5a8ff_story.html|url-status=live}}</ref> In the rock music of the 1970s, the [[art rock|"art" descriptor]] was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".<ref name="ArtPunkMurray">{{cite web|last1=Murray|first1=Noel|title=60 minutes of music that sum up art-punk pioneers Wire|url=http://www.avclub.com/article/60-minutes-music-sum-art-punk-pioneers-wire-219113|website=[[The A.V. Club]]|date=28 May 2015|access-date=30 May 2020|archive-date=31 October 2015|archive-url=https://web.archive.org/web/20151031075059/http://www.avclub.com/article/60-minutes-music-sum-art-punk-pioneers-wire-219113|url-status=live}}</ref> [[Post-punk]] artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic.

===Theatre===
{{Main|Experimental theatre}}
Whereas the avant-garde has a significant history in 20th-century music, it is more pronounced in theatre and performance art, and often in conjunction with music and sound design innovations, as well as developments in visual media design. There are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are [[Fluxus]], [[Happenings]], and [[Neo-Dada]].

=== Architecture ===
[[Brutalist architecture]] was greatly influenced by an avant-garde movement.<ref>{{Cite journal|last=Niebrzydowski|first=Wojciech|date=July 2021|title=The Impact of Avant-Garde Art on Brutalist Architecture|journal=Buildings|language=en|volume=11|issue=7|pages=290|doi=10.3390/buildings11070290|issn=2075-5309|doi-access=free}}</ref>

==Avant-garde types ==
{{Div col|colwidth=15em}}
* {{annotated link|Abstract expressionism}}
* {{annotated link|Art film}}
* {{annotated link|Artivism}}
* {{annotated link|Beat Generation}}
* {{annotated link|COBRA (avant-garde movement)|COBRA}}
* {{annotated link|Conceptual art}}
* {{annotated link|Constructivism (art)|Constructivism}}
* {{annotated link|Creationism (literary movement)|Creationism}}
* {{annotated link|Cubism}}
* {{annotated link|Dadaism}}
* {{annotated link|De Stijl}}
* {{annotated link|Expressionism}}
* {{annotated link|Fauvism}}
* {{annotated link|Fluxus}}
* {{annotated link|Futurism (art)|Futurism}}
* {{annotated link|Happening}}
* {{annotated link|Heta-uma}}
* {{annotated link|Imaginism}}
* {{annotated link|Imagism}}
* {{annotated link|Impressionism}}
* {{annotated link|Incoherents}}
* {{annotated link|Land art}}
* {{annotated link|Les Nabis}}
* {{annotated link|Lyrical Abstraction}}
* {{annotated link|Massurrealism}}
* {{annotated link|Minimal art}}
* {{annotated link|Neo-Dada}}
* {{annotated link|Orphism (art)|Orphism}}
* {{annotated link|Pop art}}
* {{annotated link|Precisionism}}
* {{annotated link|Primitivism}}
* {{annotated link|Rayonism}}
* {{annotated link|Situationism}}
* {{annotated link|Suprematism}}
* {{annotated link|Surrealism}}
* {{annotated link|Symbolism (arts)|Symbolism}}
* {{annotated link|Tachisme}}
* {{annotated link|Universal Constructivism}}
* {{annotated link|Viennese Actionism}}
* {{annotated link|Vorticism}}
* {{annotated link|Nadaism}}
* {{annotated link|Stridentism}}
* {{annotated link|Ultraist movement|Ultraist}}
{{div col end}}

==See also==
{{Div col|colwidth=22em}}
* {{Annotated link |Absurdism}}
* {{annotated link|Anti-art}}
* {{annotated link|Bauhaus}}
* {{annotated link|Chinese Apartment Art}}
* {{annotated link|Experimental film}}
* {{annotated link|Experimental literature}}
* {{annotated link|Experimental music}}
* {{annotated link|Experimental theatre}}
* {{annotated link|List of avant-garde artists}}
* {{annotated link|Outsider art}}
* {{annotated link|Relationship between avant-garde art and American pop culture}}
* {{annotated link|Russian avant-garde}}
{{div col end}}

== References ==
{{Reflist}}

==Further reading==
* [[Robert Archambeau (poet)|Robert Archambeau]]. [http://actionyes.org/issue8/archambeau/archambeau1.html "The Avant-Garde in Babel. Two or Three Notes on Four or Five Words"], ''Action-Yes'' vol. 1, issue 8, Autumn 2008.
* [[Per Bäckström|Bäckström, Per]] (ed.), ''[https://septentrio.uit.no/index.php/nordlit/issue/view/168 Centre-Periphery. The Avant-Garde and the Other]'', Nordlit. University of Tromsø, no. 21, 2007.
* [[Per Bäckström|Bäckström, Per]]. [http://actionyes.org/issue7/backstrom/backstrom1.html "One Earth, Four or Five Words. The Peripheral Concept of 'Avant-Garde{{'"}}], ''Action-Yes'' vol. 1, issue 12, Winter 2010.
* [[Per Bäckström|Bäckström, Per]] & Bodil Børset (eds.), ''Norsk avantgarde'' (Norwegian Avant-Garde), Oslo: Novus, 2011.
* [[Per Bäckström|Bäckström, Per]] & Benedikt Hjartarson (eds.), [https://brill.com/view/title/27431?lang=en ''Decentring the Avant-Garde''], Amsterdam & New York: Rodopi, Avantgarde Critical Studies, 2014.
* [[Per Bäckström|Bäckström, Per]] and Benedikt Hjartarson. "Rethinking the Topography of the International Avant-Garde", in [https://brill.com/view/title/27431?lang=en ''Decentring the Avant-Garde''], Per Bäckström & Benedikt Hjartarson (eds.), Amsterdam & New York: Rodopi, Avantgarde Critical Studies, 2014.
* Barron, Stephanie, and  Maurice Tuchman. 1980. ''The Avant-garde in Russia, 1910–1930: New Perspectives: Los Angeles County Museum of Art [and] [[Hirshhorn Museum]] and Sculpture Garden, Smithsonian Institution, [[Washington, D. C.]]'' [[Los Angeles]]: Los Angeles County Museum of Art {{ISBN|0-87587-095-3}} (pbk.); [[Cambridge, MA]]: Distributed by the [[MIT Press]] {{ISBN|0-262-20040-6}} (pbk.)
* Bazin, Germain. 1969. ''The Avant-garde in Painting''. New York: Simon and Schuster. {{ISBN|0-671-20422-X}}
* Berg, Hubert van den, and Walter Fähnders (eds.). 2009. ''Metzler Lexikon Avantgarde''. Stuttgart: Metzler. {{ISBN|3-476-01866-0}} {{in lang|de}}
* Crane, Diana. 1987. ''The Transformation of the Avant-garde: The New York Art World, 1940–1985''. Chicago: [[University of Chicago Press]]. {{ISBN|0-226-11789-8}}
* Daly, Selina, and Monica Insinga (eds.). 2013. ''[https://books.google.com/books?id=FMYwBwAAQBAJ The European Avant-garde: Text and Image]''. Newcastle upon Tyne: Cambridge Scholars. {{ISBN|978-1-4438-4054-5}}.
* Fernández-Medina, Nicolás, and Maria Truglio (eds.). ''[http://www.tandf.net/books/details/9781138911437/ Modernism and the Avant-garde Body in Spain and Italy]''. Routledge, 2016.
* {{cite book|title=Design of the 20th Century|first1=Charlotte|last1=Fiell|first2=Peter|last2=Fiell|publisher=Taschen|location=Köln|edition=25th anniversary|year=2005|pages=76–77|isbn=9783822840788|oclc=809539744}}
* Harding, James M., and John Rouse, eds. ''Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance''.  University of Michigan, 2006.
* Hjartarson, Benedikt. 2013. V''isionen des Neuen. Eine diskurshistorische Analyse des frühen avantgardistischen Manifests''. Heidelberg: Winter.
* Kostelanetz, Richard, and H. R. Brittain. 2000. ''A Dictionary of the Avant-Gardes'', second edition. New York: Schirmer Books. {{ISBN|0-02-865379-3}}. Paperback edition 2001, New York: Routledge. {{ISBN|0-415-93764-7}} (pbk.)
* Kramer, Hilton. 1973. ''The Age of the Avant-garde; An Art Chronicle of 1956''−''1972''. New York: Farrar, Straus and Giroux. {{ISBN|0-374-10238-4}}
* Léger, Marc James (ed.). 2014. ''The Idea of the Avant Garde—And What It Means Today''. Manchester and New York: Manchester University Press; Oakland: Left Curve. {{ISBN|978-0-7190-9691-4}}.
* Maerhofer, John W. 2009. ''Rethinking the Vanguard: Aesthetic and Political Positions in the Modernist Debate, 1917–1962''. Newcastle upon Tyne: Cambridge Scholars Press. {{ISBN|1-4438-1135-1}}
* Mann, Paul.  ''The Theory-Death of the Avant-Garde''.  Indiana University Press, 1991. {{ISBN|978-0-253-33672-9}} 
* Novero, Cecilia.  2010. ''Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art.'' (University of Minnesota Press) {{ISBN|978-0-8166-4601-2}}
* Pronko, Leonard Cabell. 1962. ''Avant-garde: The Experimental Theater in France''. Berkeley: [[University of California Press]].
* Roberts, John. 2015. ''Revolutionary Time and the Avant-Garde''. London and New York: Verso. {{ISBN|978-1-78168-912-7}} (cloth); {{ISBN|978-1-78168-913-4}} (pbk).
* Schechner, Richard.  "The Five Avant-Gardes or ... [and] ... or None?" ''The Twentieth-Century Performance Reader'', 2nd ed., ed. Michael Huxley and Noel Witts (New York and London: Routledge, 2002).
* Schmidt-Burkhardt, Astrit. 2005. ''Stammbäume der Kunst: Zur Genealogie der Avantgarde''. Berlin [[Akademie Verlag]]. {{ISBN|3-05-004066-1}} [online version is available]
* Sell, Mike.  ''The Avant-Garde: Race, Religion, War''.  Seagull Books, 2011.
* Shishanov, V. A. 2007. ''[[Vitebsk Museum of Modern Art|Vitebskii muzei sovremennogo iskusstva]]: istoriia sozdaniia i kollektsii (1918–1941)''. Minsk: Medisont. {{ISBN|978-985-6530-68-8}} [http://issuu.com/linkedin63/docs/shishanov_vitebsk_museum_modern_art/1 Online edition] {{in lang|ru}}

==External links==
* [http://library.princeton.edu/projects/bluemountain// Historic Avant-Garde Periodicals for Digital Research, The Blue Mountain Project, Princeton University Library]
* [https://monoskop.org/Avant-garde_and_modernist_magazines Avant-garde and Modernist Magazines (Monoskop)]
* [http://bibliothequekandinsky.centrepompidou.fr/CDA/portal.aspx?SYNCMENU=LIVRESETREVUES&INSTANCE=incipio&PORTAL_ID=portal_model_instance__bibnumprint.xml&PAGE=%2fstatique%2fPAGES%2facces.html&SETSKIN=INCIPIO Magazines in Bibliothèque Kandinsky, Centre Pompidou, Paris] {{Webarchive|url=https://web.archive.org/web/20200726131007/http://bibliothequekandinsky.centrepompidou.fr/CDA/portal.aspx?SYNCMENU=LIVRESETREVUES&INSTANCE=incipio&PORTAL_ID=portal_model_instance__bibnumprint.xml&PAGE=%2fstatique%2fPAGES%2facces.html&SETSKIN=INCIPIO |date=26 July 2020 }}
* [https://web.archive.org/web/20190804201914/http://digital.lib.uiowa.edu/cdm/search/collection/dada/searchterm/Periodicals/mode/exact Periodicals in Iowa Digital Library, University of Iowa Libraries]
* [http://sdrc.lib.uiowa.edu/dada/collection.html Digital Dada Library of International Dada Archive, University of Iowa Libraries]
* [http://beinecke.library.yale.edu/tags/magazine Magazines in Digital Collections of Beinecke Rare Book & Manuscript Library]
* [https://www.nypl.org/blog/2014/04/17/magazines-digital-archives Avant-Garde Periodicals Meet Digital Archives, New York Public Library]
* [http://www.ubu.com/historical/dada/index.html Dada, Surrealism, and De Stijl Magazines on UbuWeb Historical]
* [http://sites.davidson.edu/littlemagazines/ Index of Modernist Magazines, Davidson College] {{Webarchive|url=https://web.archive.org/web/20160830221417/http://sites.davidson.edu/littlemagazines/ |date=30 August 2016 }}
* [http://modjourn.org/ Modernist Journal Project, Brown University and University of Tulsa]
* [http://sites.psu.edu/simsf/ Spanish and Italian Modernist Studies Forum, Pennsylvania State University] {{Webarchive|url=https://web.archive.org/web/20160820140947/http://sites.psu.edu/simsf/ |date=20 August 2016 }}
* [https://exchange.umma.umich.edu/resources/23875 Collection: "Spanish Avant-Garde" from the University of Michigan Museum of Art]

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[[Category:Concepts in aesthetics]]
[[Category:Modern art]]
[[Category:Postmodernism]]
[[Category:Modernism]]