Описание: Bodily Desire, Desired Bodies examines the diverse ways that literary works and paintings can be read as screens onto which new images of masculinity and femininity are cast. Esther Bauer focuses on German and Austrian writers and artists from the 1910s and 1920s specifically authors Franz Kafka, Vicki Baum, and Thomas Mann, and painters Otto Dix, Christian Schad, and Egon Schiele who gave spectacular expression to shifting trends in male and female social roles and the organisation of physical desire and the sexual body. Bauer’s comparative approach reveals the ways in which artists and writers echoed one another in undermining the gender duality and highlighting sexuality and the body. As she points out, as sites of negotiation and innovation, these works reconfigured bodies of desire against prevailing notions of sexual difference and physical attraction and thus became instruments of social transformation.
Описание: Pop Art and the Contest Over American Culture examines the socially and aesthetically subversive character of pop art. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural, and political transformations of the 1960s. She demonstrates how pop art’s use of discredited mass-cultural imagery worked to challenge established social and cultural hierarchies. At the same time, its affinities with marginalized forms of taste - gay Camp and youth culture - allied it with the proto-political changes foreshadowing the radical politics that emerged late in the decade. Pop art’s subversive critique of consumer culture also served as a crucial precedent for postmodernist practices. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was both a significant participant in those transformations and that it profoundly shaped today’s postmodern culture.
Documenting and describing the emerging "performative democracy," the first new art form of the twenty-first century.
Today political protest often takes the form of spontaneous, noninstitutional, mass action. Mass protests during the Arab Spring showed that established systems of power -- in that case, the reciprocal support among Arab dictators and Western democracies -- can be interrupted, at least for a short moment in history. These new activist movements often use online media to spread their message. Mass demonstrations from Tahrir Square in Cairo to Taksim Square in Istanbul show the power of networked communication to fuel "performative democracy" -- at the center of which stands the global citizen. Art is emerging as a public space in which the individual can claim the promises of constitutional and state democracy. Activism may be the first new art form of the twenty-first century.
global aCtIVISm (the capitalized letters form the Latin word civis, emphasizing the power of citizens) describes and documents politically inspired art -- global art practices that draw attention to grievances and demand the transformation of existing conditions through actions, demonstrations, and performances in public space. Essays by leading thinkers -- including Noam Chomsky, Antonio Negri, Peter Sloterdijk, and Slavoj Zizek -- consider the emerging role of the citizen in the new performative democracy. The essays are followed by images of art objects, illustrations, documents, and other material (first shown in an exhibition at ZKM Center for Art and Media, Karlsruhe) as well as case studies by artists and activists.
Essays by Can Altay, Sruti Bala and Veronika Zangl, Tatiana Bazzichelli, Olaf Bertram-Nothnagel, Angela Bonadies, Robin Celikates, Korhan G m s, Dietrich Hei enb ttel, Bruno Latour, Sarah Maske, Ugo Mattei, Graham Meikle, Andr Mesquita, Marcus Michaelsen, Walter D. Mignolo, MTL, Antonio Negri, Dimitris Papadopoulos, Vassilis Tsianos and Margarita Tsomou, Rita Raley, Arman and Arash T. Riahi, Martha Rosler, Peter Sloterdijk, Karl-Peter Sommermann, Guido Strack, Jackie Sumell, Zixue Tai, Tatiana Volkova, Christoph Wachter and Mathias Jud, Dan S. Wang and Sarah Augusta Lewison, Peter Weibel, Ahmad Zatari, Bo Zheng, Ragip Zik, Slavoj Zizek.
Interviews with Ammar Abo Bakr and Ganzeer, Younes Belghazi and Hadeer Elmahdawy, Erdem G nd z, Joulia Strauss
How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public.
This is the story of how the xerographic copier, or "Xerox machine," became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements.
Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography -- including photocopied posters, mail art, and zines -- changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets.
Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art.
These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred.
Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour a l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories.
Contents Formalism and Historicity (1977) - Marcel Broodthaers: Allegories of the Avant-Garde (1980) - Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) - Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) - The Museum Fictions of Marcel Broodthaers (1983) - From Faktura to Factography (1984) - Readymade, Objet Trouve, Idee Recue (1985) - The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) - Cold War Constructivism (1986) - Conceptual Art 1962--1969: From the Aesthetics of Administration to the Critique of Institutions (1989) - Residual Resemblance: Three Notes on the Ends of Portraiture (1994) - Sculpture: Publicity and the Poverty of Experience (1996)
Описание: Nico Israel argues that spirals illuminate the torsions of history and geopolitics within modernity. Taking the form of the spiral not only as his topic but as inspiration for his method, Israel challenges familiar, discipline-based approaches to modernism and its aftermaths and gives twenty-first-century theory an important new spin.
Описание: From Picasso's Cubism and Duchamp's readymades to Warhol's silkscreens and Smithson's earthworks, the art of the twentieth century broke completely with earlier artistic traditions. A basic change in the market for advanced art produced a heightened demand for innovation, and young conceptual innovators – from Picasso and Duchamp to Rauschenberg and Warhol to Cindy Sherman and Damien Hirst – responded not only by creating dozens of new forms of art, but also by behaving in ways that would have been incomprehensible to their predecessors. Conceptual Revolutions in Twentieth-Century Art presents the first systematic analysis of the reasons for this discontinuity. David W. Galenson, whose earlier research has changed our understanding of creativity, combines social scientific methods with qualitative analysis to produce a fundamentally new interpretation of modern art that will give readers a far deeper appreciation of the art of the past century, and of today, than is available elsewhere.
Автор: Edited by Frances Colpitt Название: Abstract Art in the Late Twentieth Century ISBN: 0521004535 ISBN-13(EAN): 9780521004534 Издательство: Cambridge Academ Рейтинг: Цена: 3148 р. Наличие на складе: Поставка под заказ.
Описание: By the middle of the 20th century, abstraction was the accepted language of art as practiced by painters and articulated by critics, who began to investigate its historical and theoretical dimensions. Abstract Art in the Late Twentieth Century includes seminal essays on abstract painting by eleven of its most incisive critics and written over four decades, between 1960 and 2000. Tracing the post-Greenbergian development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the ‘death of painting’ in post-modernism, they examine works by Ad Reinhardt, Frank Stella, Brice Marden, Sherrie Levine, and Gerhard Richter, among others. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology, to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting, the definitive contribution of modern art.
Описание: A unique and authoritative guide to modern responses to art. Featuring 48 essays, and written by a panel of expert contributors, it introduces readers to the key approaches and analytical tools of contemporary art study and debate.
Описание: This volume brings together a selection of essays by one of the leading scholars of American art. Matthew Baigell examines the work of a variety of artists, including Edward Hopper, Thomas Hart Benton, Ben Shahn, and Frank Stella, relating their art works closely to the social and cultural contexts in which they were created. Identifying important and recurring themes in this body of art, such as the persistence of Emersonian values, the search for national and regional identity, aspects of alienation, and the loss of individuality, he also explores the personal and religious identities of artists as revealed in their works. Collectively, Baigell’s work demonstrates the importance of America as the defining element in American art.
Описание: Pop Art and the Contest over American Culture examines the socially and aesthetically subversive character of pop art. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural and political transformations of the 1960s. She demonstrates how pop art's use of discredited mass-cultural imagery worked to challenge established social and cultural hierarchies. At the same time, its affinities with marginalized forms of taste - gay Camp and youth culture - allied it with the proto-political changes foreshadowing the radical politics that emerged late in the decade. Pop art's subversive critique of consumer culture also served as a crucial precedent for postmodernist practices. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was both a significant participant in those transformations and that it profoundly shaped today's postmodern culture.
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