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  • 1 Art Center College of Design, Pasadena
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In the midst of an increasingly global culture it is necessary to construct a local narrative because nobody else but local scholars will construct it. If, for example, the history of Hungarian Modernism is described in the terms of the West European artistic currents only, as a journey from realism to impressionism and post-impressionism to art nouveau to symbolism to expressionism, cubism, constructivism and so forth, as we have been doing it for decades, some of the most significant Hungarian artists are remaining unacknowledged. There is hardly any international category for Egry, Vajda, Farkas, Kondor or Veszelszky, to mention but a few names; but even those Hungarian artists who more or less fit into the above stylistic brackets are getting a simplified reading and understanding. It is the collective task of local art historians to construct their distinctive narrative.

  • 1. ARRIVALS > ART FROM THE NEW EUROPE. Suzanne Cotter, Andrew Nairne and Victoria Pomery (eds.) Oxford 2007, p. 31.

  • 2. An example for retroactively “globalize” local art was the exhibition and catalogue Hungarian Fauves in the Hungarian National Gallery, Fall 2006; Curators Krisztina Passuth, György Szűcs, Gergely Barki, catalogue eds. Krisztina Passuth, György Szücs.

  • 3. ARRIVALS, p. 30.

  • 4. New York; London 2007.

  • 5. Craig Owens : “Representation, Appropriation & Power”, Art in America, May 1982, pp. 921.

  • 6. Joh Updike. “New Kind on the Block”, The New York Review of Books, Vol. XLIX, No.2, Feb. 14, 2002, pp. 2528.

  • 7. He wrote so, in spite of the fact that he voiced a positive opinion of the Neue Galerie New York in the article.

  • 8. Peter Schjeldahl . “Golden Girl. The Neue Galerie's new Klimt”, The New Yorker, July 24, 2006, p. 77.

  • 9. For a more detailed analysis of this issue see Éva Forgács: “How the New Left Invented East-European Art”, Centropa, Vol. 3, No. 2, May 2003, pp. 93104.

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  • 10. Larry Wolff . Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment, Stanford 1994, p. 8.

  • 11. Csaba Dupcsik . “Postcolonial Studies and the Inventing of Eastern EuropeEast Central Europe/L’Europe de Centre Est: eine wissenschaftliche Zeitschrift, Vol. 26, part 1, 1999, p. 4.

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  • 12. Wolff. p. 358, quoted in Dupcsik. p. 4.

  • 13. Boris Groys . “A harmadik hullám” (The third wave) 2000, 1999/3.

  • 14. Krisztina Passuth : Avantgarde kapcsolatok Prágától Bukarestig 1907–30 (Avant-garde contacts from Prague to Bucuresti), Budapest 1998, p. 48.

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  • 15. Lajos Németh : Modern magyar művészet (Modern Hungarian art) Budapest 1968, p. 53.

  • 16. Gábor Andrási , Gábor Pataki, György Szücs, András Zwickl: Magyar képzőművéset a XX. Században (Hungarian Fine Arts in the 20th century) Budapest 1999, p. 52.

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  • 17. Majoros Valéria : Tihanyi Lajos, Dokumentumok, Budapest 2002.