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Author: Daniel Herwitz
Publisher: Bloomsbury Publishing
ISBN: 1350182400
Category : Philosophy
Languages : en
Pages : 216
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Book Description
Visual art has a ubiquitous political cast today. But which politics? Daniel Herwitz seeks clarity on the various things meant by politics, and how we can evaluate their presumptions or aspirations in contemporary art. Drawing on the work of William Kentridge, drenched in violence, race, and power, and the artworld immolations of Banksy, Herwitz's examples range from the NEA 4 and the question of offense-as-dissent, to the community driven work of George Gittoes, the identity politics of contemporary American art and (for contrast with the power of visual media) literature written in dialogue with truth commissions. He is interested in understanding art practices today in the light of two opposing inheritances: the avant-gardes and their politicization of the experimental art object, and 18th-century aesthetics, preaching the autonomy of the art object, which he interprets as the cultural compliment to modern liberalism. His historically-informed approach reveals how crucial this pair of legacies is to reading the tensions in voice and character of art today. Driven by questions about the capacity of the visual medium to speak politically or acquire political agency, this book is for anyone working in aesthetics or the art world concerned with the fate of cultural politics in a world spinning out of control, yet within reach of emancipation.
Author: Daniel Herwitz
Publisher: Bloomsbury Publishing
ISBN: 1350182400
Category : Philosophy
Languages : en
Pages : 216
Get Book Here
Book Description
Visual art has a ubiquitous political cast today. But which politics? Daniel Herwitz seeks clarity on the various things meant by politics, and how we can evaluate their presumptions or aspirations in contemporary art. Drawing on the work of William Kentridge, drenched in violence, race, and power, and the artworld immolations of Banksy, Herwitz's examples range from the NEA 4 and the question of offense-as-dissent, to the community driven work of George Gittoes, the identity politics of contemporary American art and (for contrast with the power of visual media) literature written in dialogue with truth commissions. He is interested in understanding art practices today in the light of two opposing inheritances: the avant-gardes and their politicization of the experimental art object, and 18th-century aesthetics, preaching the autonomy of the art object, which he interprets as the cultural compliment to modern liberalism. His historically-informed approach reveals how crucial this pair of legacies is to reading the tensions in voice and character of art today. Driven by questions about the capacity of the visual medium to speak politically or acquire political agency, this book is for anyone working in aesthetics or the art world concerned with the fate of cultural politics in a world spinning out of control, yet within reach of emancipation.
Author: Daniel Alan Herwitz
Publisher:
ISBN: 9781350182417
Category : Art
Languages : en
Pages :
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Book Description
"Visual art has a ubiquitous political cast today. But which politics? Daniel Herwitz seeks clarity on what is meant by politics, and how we can evaluate its presumption or aspiration in contemporary art. Drawing on the work of William Kentridge, drenched in war, violence and race and the artworld immolations of Bansky, Herwitz's examples range from the NEA 4 and the question of offense-as-dissent, to M.F. Husain and the Hindu nationalist Indian right wing. He is interested in understanding art practices today in the light of two opposing inheritances: the avant-gardes and their politicization of the experimental art object, and apolitical 18th-century aesthetics. His historically-informed approach reveals how crucial this pair of legacies is to reading the tensions in voice and character of art today. Driven by questions about the capacity of the visual medium to speak politically or acquire political agency , Hertwitz's book is for anyone working in aesthetics or the art world concerned with the fate of cultural politics in a world spinning out of control, yet within reach of emancipation"--
Author: Stephanie J. Smith
Publisher: UNC Press Books
ISBN: 1469635690
Category : History
Languages : en
Pages : 293
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Book Description
Stephanie J. Smith brings Mexican politics and art together, chronicling the turbulent relations between radical artists and the postrevolutionary Mexican state. The revolution opened space for new political ideas, but by the late 1920s many government officials argued that consolidating the nation required coercive measures toward dissenters. While artists and intellectuals, some of them professed Communists, sought free expression in matters both artistic and political, Smith reveals how they simultaneously learned the fine art of negotiation with the increasingly authoritarian government in order to secure clout and financial patronage. But the government, Smith shows, also had reason to accommodate artists, and a surprising and volatile interdependence grew between the artists and the politicians. Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy—and what it meant to be authentically Mexican.
Author: Daniel Herwitz
Publisher: Bloomsbury Publishing
ISBN: 1350182397
Category : Philosophy
Languages : en
Pages : 213
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Book Description
Visual art has a ubiquitous political cast today. But which politics? Daniel Herwitz seeks clarity on the various things meant by politics, and how we can evaluate their presumptions or aspirations in contemporary art. Drawing on the work of William Kentridge, drenched in violence, race, and power, and the artworld immolations of Banksy, Herwitz's examples range from the NEA 4 and the question of offense-as-dissent, to the community driven work of George Gittoes, the identity politics of contemporary American art and (for contrast with the power of visual media) literature written in dialogue with truth commissions. He is interested in understanding art practices today in the light of two opposing inheritances: the avant-gardes and their politicization of the experimental art object, and 18th-century aesthetics, preaching the autonomy of the art object, which he interprets as the cultural compliment to modern liberalism. His historically-informed approach reveals how crucial this pair of legacies is to reading the tensions in voice and character of art today. Driven by questions about the capacity of the visual medium to speak politically or acquire political agency, this book is for anyone working in aesthetics or the art world concerned with the fate of cultural politics in a world spinning out of control, yet within reach of emancipation.
Author: Rachel N. Klein
Publisher: University of Pennsylvania Press
ISBN: 0812251946
Category : History
Languages : en
Pages : 296
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Book Description
A study of three controversies that illuminate the changing cultural role of art exhibition in the nineteenth century From the antebellum era through the Gilded Age, New York City's leading art institutions were lightning rods for conflict. In the decades before the Civil War, art promoters believed that aesthetic taste could foster national unity and assuage urban conflicts; by the 1880s such hopes had faded, and the taste for art assumed more personal connotations associated with consumption and domestic decoration. Art Wars chronicles three protracted public battles that marked this transformation. The first battle began in 1849 and resulted in the downfall of the American Art-Union, the most popular and influential art institution in North America at mid-century. The second erupted in 1880 over the Metropolitan Museum's massive collection of Cypriot antiquities, which had been plundered and sold to its trustees by the man who became the museum's first paid director. The third escalated in the mid-1880s and forced the Metropolitan Museum to open its doors on Sunday—the only day when working people were able to attend. In chronicling these disputes, Rachel N. Klein considers cultural fissures that ran much deeper than the specific complaints that landed protagonists in court. New York's major nineteenth-century art institutions came under intense scrutiny not only because Americans invested them with moral and civic consequences but also because they were part and parcel of explosive processes associated with the rise of industrial capitalism. Elite New Yorkers spearheaded the creation of the Art-Union and the Metropolitan, but those institutions became enmeshed in popular struggles related to slavery, immigration, race, industrial production, and the rights of working people. Art Wars examines popular engagement with New York's art institutions and illuminates the changing cultural role of art exhibition over the course of the nineteenth century.
Author: bell hooks
Publisher: The New Press
ISBN: 1620979292
Category : Art
Languages : en
Pages : 0
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Book Description
The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.”
Author:
Publisher: Penn State Press
ISBN: 9780271048147
Category : Art
Languages : en
Pages : 304
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Book Description
To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.
Author: Martin Joseph Powers
Publisher:
ISBN: 9780300047677
Category : Art
Languages : en
Pages : 438
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Book Description
In This path breaking book Martin J. Powers examines the art and politics of Han dynasty (206 B. C. - A.D. 220) and show that both were shaped by the rise of an educated, non aristocratic public-the Confucian literati - that questioned the authority of the rich and royal at all levels. By considering the design and construction of local tombs and shrines, their mural schemes, subject matter, and style, the author distinguishes three major traditions of taste and places each tradition within a narrative of political rivalries in northeast China.
Author: Gabriel Rockhill
Publisher: Columbia University Press
ISBN: 0231527780
Category : Philosophy
Languages : en
Pages : 289
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Book Description
Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.
Author: Yvonne Spielmann
Publisher: NUS Press
ISBN: 9814722367
Category : Art
Languages : en
Pages : 189
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Book Description
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
