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Romanian folk art and African art were the two main sources of influence on Brancusi's primitivism. Brancusi identified himself with the Romanian peasantry and its folk culture. Romanian folk culture embraces woodcarving and folk literary fables--both of which Brancusi incorporated in his sculptures. In my opinion, Brancusi's wood pedestals, such as the Endless Column, are based on wood funerary, decorative, and architectural motifs from Romanian villages.
Brancusi was exposed to African art through his relationship with the New York avant-garde. The art dealers Alfred Stieglitz, Marius de Zayas, and Joseph Brummer exhibited Brancusi's sculptures in their galleries, in addition to exhibiting African art. Meanwhile, Brancusi's main patron John Quinn also collected African art. His interaction with the New York avant-garde led him to incorporate formal features of African sculpture, such as the oval forms of African masks, into his abstract sculptures. Brancusi also used African art to expose the racial prejudice of his time. African art, along with Romanian folk art, informed Brancusi's primitivism consistently throughout his long career as a modern sculptor.
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To read Neshat’s photography, it is crucial to register her use of Persian language and historical poetry. Although the reading and understanding of the Persian texts Neshat inscribes on her photographs plays a fundamental role in the interpretation of her work, Neshat’s artworks are not entirely conceptual. The lack of translation of these included texts in Neshat’s exhibitions indicates a decorative use of Persian calligraphy. The Western eye can aesthetically explore this exotic Eastern decorative calligraphy. The formal qualities of Neshat’s photographs remain, even if the viewer is unable to read or understand the Persian texts.
The ASU School of Dance presents Undergraduate Projects Showing, October 25-26, with works by undergraduate dance students, performed at Margaret Gisolo Dance Studio.
The ASU School of Dance presents School of Dance LIVE!, September 7-9, with works by dance faculty, performed at Galvin Playhouse.
The ASU School of Dance presents Emerging Artists I, February 9-12, with works by guest artists, dance faculty, and students, performed at Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents Rhythms of Life, November 3-5, with works by guest artists performed at Dance Studio Theatre, PEBE 132.
The ASU School of Dance presents Celebrating the Nagrin Legend, September 16-18, with works by dance faculty and visiting artists, performed at the Galvin Playhouse Theatre.
The ASU School of Dance presents New Danceworks I, October 20-23, with works by dance graduate students, performed at the Dance Studio Theatre, PEBE 132.