Debora Silverman
Biographic Data
| ID | 3745726 |
|---|---|
| NAME | Debora Silverman |
| GIVEN NAMES | Debora |
| FAMILY NAME | Silverman |
| SIGNATURE | SILVERMAN D |
| AFFILIATIONS | University of California, Los Angeles |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 2 |
Boundaries
The sweep, originality, and plenitude of Jerrold Seigel's work have transformed our field. His prolific and creative scholarship encompasses the history of ideas, the history of cultural forms, and the history of intellectuals, areas typically examined separately as coherent and discrete sections of intellectual history. I have been reading Seigel for many years now, assigned his texts in my classes, and watched students come alive as they encoun…
Diasporas of Art
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Modernité Sans Frontières
“Modernité Sans Frontières:”Culture, Politics, and the Boundaries of the Avant-Garde in King Leopold’s Belgium, 1885–1910 Debora Silverman (bio) Introduction: Bohemia and “Belgitude” On February 25, 1893, the poet Paul Verlaine arrived in Belgium, beginning a two-week lecture tour in a number of cities throughout the kingdom. Verlaine’s speaking invitations spanned a variety of literary societies and cultural associations, from the avant-garde ar…
Marketing Thanatos
This article explores themes and techniques of violence in the arts of Damien Hirst and interprets them as expressive forms of cultural pathology. While Hirst has produced his "shockaholic" art for more than two decades, his new prominence and power have flourished in the distinctive context of the past seven years. The article examines Hirst's 2007 creation of a diamond encrusted platinum cast of a human skull (Fig. 1L, 1R), suggesting affinitie…
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Painting, Self, and Society at the Cusp of Abstraction
Playing With Clothes
Postmodern Culture - Volume 3, Number 3, May 1993
Art Nouveau in Fin-de-Siecle France
Art Nouveau in Fin-de-Siècle France
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Diasporas of Art
Modernité Sans Frontières
“Modernité Sans Frontières:”Culture, Politics, and the Boundaries of the Avant-Garde in King Leopold’s Belgium, 1885–1910 Debora Silverman (bio) Introduction: Bohemia and “Belgitude” On February 25, 1893, the poet Paul Verlaine arrived in Belgium, beginning a two-week lecture tour in a number of cities throughout the kingdom. Verlaine’s speaking invitations spanned a variety of literary societies and cultural associations, from the avant-garde ar…
Marketing Thanatos
This article explores themes and techniques of violence in the arts of Damien Hirst and interprets them as expressive forms of cultural pathology. While Hirst has produced his "shockaholic" art for more than two decades, his new prominence and power have flourished in the distinctive context of the past seven years. The article examines Hirst's 2007 creation of a diamond encrusted platinum cast of a human skull (Fig. 1L, 1R), suggesting affinitie…
Art Nouveau in Fin-de-Siècle France
Art Nouveau in Fin-de-Siecle France
Playing With Clothes
Postmodern Culture - Volume 3, Number 3, May 1993
Painting, Self, and Society at the Cusp of Abstraction
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Modernité Sans Frontières
“Modernité Sans Frontières:”Culture, Politics, and the Boundaries of the Avant-Garde in King Leopold’s Belgium, 1885–1910 Debora Silverman (bio) Introduction: Bohemia and “Belgitude” On February 25, 1893, the poet Paul Verlaine arrived in Belgium, beginning a two-week lecture tour in a number of cities throughout the kingdom. Verlaine’s speaking invitations spanned a variety of literary societies and cultural associations, from the avant-garde ar…
Marketing Thanatos
This article explores themes and techniques of violence in the arts of Damien Hirst and interprets them as expressive forms of cultural pathology. While Hirst has produced his "shockaholic" art for more than two decades, his new prominence and power have flourished in the distinctive context of the past seven years. The article examines Hirst's 2007 creation of a diamond encrusted platinum cast of a human skull (Fig. 1L, 1R), suggesting affinitie…
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Diasporas of Art
Boundaries
The sweep, originality, and plenitude of Jerrold Seigel's work have transformed our field. His prolific and creative scholarship encompasses the history of ideas, the history of cultural forms, and the history of intellectuals, areas typically examined separately as coherent and discrete sections of intellectual history. I have been reading Seigel for many years now, assigned his texts in my classes, and watched students come alive as they encoun…
Art (10 works) · Art history (8 works) · History (8 works) · Law (7 works) · Sociology (7 works) · Political science (6 works) · Politics (5 works) · Visual arts (5 works) · Aesthetics (4 works) · Anthropology (4 works)