Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the monochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's "achromes" as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the economic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the monochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's economic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Autonomia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.
Автор: Lex Morgan Lancaster Название: Dragging Away: Queer Abstraction in Contemporary Art ISBN: 1478016043 ISBN-13(EAN): 9781478016045 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 11907.00 р. Наличие на складе: Нет в наличии.
Описание: In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag—dragging past aesthetics into the present and reworking them while pulling their work away from direct representation—these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Müller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.
Автор: Tricia Laughlin Bloom, Donald Kuspit Название: The Arc of Abstraction ISBN: 0932828299 ISBN-13(EAN): 9780932828293 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 4132.00 р. Наличие на складе: Нет в наличии.
Описание: Where do we begin to talk about abstract art? This question depends on one's worldview. From the point of view of the collection included in this book, the arc of abstraction is very broad, sweeping and multivalent. The essays included here take an open view of the story of abstraction, reflecting the variation and diversity of American art included in the holdings of the Newark Museum. The museum gave avant-garde abstraction an early American home, exhibiting the works of painter Max Weber in 1913. Yet abstraction's American roots extend earlier as seen in indigenous objects as well. Donald Kuspit discusses America's earliest abstract painter Arthur Dove and the innovations of Georgia O'Keefe, Joseph Stella, Morgan Russell, and Alexander Calder who all ""convey abstraction's ambivalent consciousness of nature and its unconscious attempt to recover the self."" The Arc of Abstraction is lavishly illustrated with over 80 full-color images of works by a broad array of abstract artists including Ad Reinhardt, Phillip K. Smith, III, Philip Guston, Isamu Noguchi, Romare Howard Bearden, Stuart Davis, Louise Nevelson, Arshile Gorky, Mark Rothko, Melvin Edwards, and Joaquín Torres-García. Expert commentary by Ulysses Grant Dietz, Tricia Laughlin Bloom, Gabriel Dawe, Jalena Louise Jampolsky, Marela Zacarias, Tarin Fuller, William L. Coleman, Souleo, Tricia Laughlin Bloom, and Kay WalkingStick provides important insights to help readers understand the nature and significance of the artwork. Published by Newark Museum. Distributed worldwide by Rutgers University Press.
Описание: The Capitalist Schema uses marxist philosophy to explain how money frames all social relations in our capitalist world and how money regulates and conditions social references to past and future social life. Consequently, modern life becomes ever more abstract and leveled, and all human desire becomes channeled towards profit and making money.
Автор: Lex Morgan Lancaster Название: Dragging Away: Queer Abstraction in Contemporary Art ISBN: 1478018674 ISBN-13(EAN): 9781478018674 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 3129.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag—dragging past aesthetics into the present and reworking them while pulling their work away from direct representation—these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Müller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.
An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation.
In this pathbreaking book Alan Tully offers an unprecedented comparative study of colonial political life and a rethinking of the foundations of American political culture. Tully chooses for his comparison the two colonies that arguably had the most profound impact on American political history--New York and Pennsylvania, the rich and varied colonies at the geographical and ideological center of British colonial America.
Fundamental to the book is Tully's argument that out of Anglo-American influences and the cumulative character of each colonial experience, New York and Pennsylvania developed their own distinctive but complementary characteristics. In making this case Tully enters--from a new perspective--the prominent argument between the "classical republican" and "liberal" views of early American public thought. He contends that the radical Whig element of classical republicanism was far less influential than historians have believed and that the political experience of New York and Pennsylvania led to their role as innovators of liberal political concepts and discourse. In a conclusion that pursues his insights into the revolutionary and early republican years, Tully underlines a paradox in American political development: not only were the pathbreaking liberal politicians of New York and Pennsylvania the least inclined towards revolutionary fervor, but their political language and concepts--integral to an emerging liberal democratic order--were rooted in oligarchical political practice.
"A momentous contribution to the burgeoning literature on the middle Atlantic region, and to the vexed question of whether it constitutes a coherent cultural configuration. Tully argues persuasively that it does, and his arguments will have to be reckoned with like few that have gone before, even as he develops an array of differences between the two colonies more subtle and penetrating than any of his predecessors has ever put forth."--Michael Zuckerman, University of Pennsylvania.
Автор: Sondergaard, Rasmus Sinding (lunds Universitet, Sweden) Название: Reagan, congress, and human rights ISBN: 1108797180 ISBN-13(EAN): 9781108797184 Издательство: Cambridge Academ Рейтинг: Цена: 4750.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book traces the role of human rights concerns in US foreign policy during the 1980s, focusing on the struggle among the Reagan administration and members of Congress. It explores how executive-legislative relations shaped attention to human rights in US foreign policy and how the issue of human rights, in turn, impacted governmental relations.
Описание: This book traces the role of human rights concerns in US foreign policy during the 1980s, focusing on the struggle among the Reagan administration and members of Congress. It explores how executive-legislative relations shaped attention to human rights in US foreign policy and how the issue of human rights, in turn, impacted governmental relations.
In Ideas and Institutions, Kathryn Sikkink illuminates a key question in contemporary political economy: What power do ideas wield in the world of politics and policy? Sikkink traces the effects of one enormously influential set of ideas, developmentalism, on the two largest economies in Latin America, Brazil and Argentina.
Introduced under the intellectual leadership of Ra?l Prebisch at the U.N. Economic Commission for Latin America, developmentalism was embraced as national policy in many postwar developing economies. Drawing upon extensive archival research and interviews, Sikkink explores the adoption, implementation, and consolidation of the developmentalist model of economic policy in Brazil and Argentina in the 1950s and 1960s, focusing on the governments of Juscelino Kubitschek and Arturo Frondizi, respectively.
In accounting for the initial decision to adopt developmentalist policies in Latin America and the persistence of the policy package in the region, she highlights the importance of political and economic ideas, the comparative effects of different national institutions, and the variable ability of political leaders to mobilize resources and support.
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