{"title":"Mondrian's Boogie Woogie","authors":"Leah Dickerman","doi":"10.1162/octo_a_00496","DOIUrl":null,"url":null,"abstract":"Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"OCTOBER","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1162/octo_a_00496","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.
期刊介绍：
At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
京公网安备 11010802042870号
京ICP备2023020795号-1
分享
求助内容：
应助结果提醒方式：
扫码关注我们
