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We live in a world where nothing is untouched by supply chains—art included. In this major contribution to the study of contemporary culture and supply chains, Michael Shane Boyle has assembled a global inventory of aesthetics since the 1950s that reveals logistics to be a pervasive means of artistic production. The Arts of Logistics provides a new map of supply chain capitalism, scrutinizing how artists retool technologies designed for circulating commodities. What emerges is a magisterial account of the logistics revolution that foregrounds the role played by art in the long downturn of global capitalism. With chapters on art produced from technologies including ships, barrels, containers, and drones, Boyle narrates the long history of art's connection to logistics, beginning in the transatlantic slave trade and continuing today in Silicon Valley's dreams of automation. The global reach of the artists considered reflects the geographies of supply chain capitalism itself. In taking stock of how performance, sculpture, and popular culture are entangled in trade and racialized labor regimes, Boyle profiles influential work by artists such as Christo and Allan Kaprow alongside that of contemporary figures including Cai Guo-Qiang and Selina Thompson. This incisive study demonstrates that art and logistics are linked by the infrastructures and violence that keep supply chains moving.

In addition to his work as visual artist, publisher, poet, and composer, Dick Higgins (1938–98) was also a genuine man of the theater. A founder of Fluxus, he was a major figure in artistic communities in downtown New York City, across Europe, and in Japan. Yet as important as Higgins's work has been to historians of the American avant-garde, relatively little attention has been paid to his radical theatrical vision. Alchemies of Theater brings together a broad selection of Higgins's writings and theater-related work, much of it unpublished or long out of print, including plays and performance scores, drawings, and writings on theater and performance. As this book demonstrates, Higgins deconstructed the drama long before it became a project of theater; undercut the traditional roles of author and director; created what is now considered “devised” theater; pioneered the use of media in theater, writing the first electronic opera; and was a precursor in deconstruction and “postdramatic” avant-garde traditions. His Intermedia manifesto offered a sweeping view of interdisciplinarity—in effect, a new arts ecology.

This book is about avant-garde art in Shanghai in the 1980s which challenges the narrative in the current discourse on the appearance of contemporary art in China. Offering fresh perspectives and new insights into the art and the artists of this period, the book includes critical events in Shanghai, that will attract the serious attention of art professionals and collectors. The emergence of the Shanghai art scene in the 1980s mirrors the revitalisation of Shanghai that was tasked to lead China's economic development trajectory onto the world stage. Shanghai, with its semi-colonial, political, economic and cultural history, including the strong legacy of the early twentieth century modernist art movement, has played a vital role in China's modernisation and presents itself as a unique case in the evolution of contemporary art in China.

Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a modernist style and the theatricalization of black skin at the turn of the twentieth century. Stepping outside of the platitudes surrounding this iconic figure, Anne A. Cheng argues that Baker's famous nakedness must be understood within larger philosophic and aesthetic debates about, and desire for,'pure surface'that crystallized at the convergence of modern art, architecture, machinery, and philosophy. Through Cheng's analysis, Baker emerges as a central artist whose work engages with and impacts various modes of modernist display such as film, photography, art, and even the modern house.

A cultural revolution in England, France, and the United States beginning during the time of the industrial and political revolutions helped usher in modernity. This cultural revolution worked alongside the better documented political and economic revolutions to usher in the modern era of continuous revolution. Focusing on the period between 1847 and 1937, the book examines in depth six of the cultural'battles'that were key parts of this revolution: the novels of the Brontë sisters, the paintings of the Impressionists, the poetry of Emily Dickinson, the Ballets Russes production of Le Sacre du printemps, James Joyce's Ulysses, and Zora Neale Hurston's Their Eyes Were Watching God. Using contemporaneous reviews in the press as well as other historical material, we can see that these now-canonical works provoked outrage at the time of their release because they addressed critical points of social upheaval and transformation in ways that engaged broad audiences with subversive messages. This framework allows us to understand and navigate the cultural debates that play such an important role in 21st century politics.

This volume offers an important examination of the ways in which artistic manipulations of time can lead to a different perception of time as nonsynchronous and anti-chronological. The range of media (philosophical essays, film, plays, novels, autobiographical narratives) and periods (medieval, early modern, contemporary) explored here testify to the enduring significance of so-called «delays» and the need to rethink these as anachronies. The spectral presence of the notion of «Kairos» throughout this volume connects different attempts to subvert linear time, on occasion allowing events and temporalities to coexist and compete or, alternately, asking the mind to stretch itself and experience the uneasiness of time by attempting and failing to encompass diverse spaces and temporalities concomitantly. The resulting essays interrogate, test and contest the limits of the possible and enable a rethinking of what time could represent across disciplines and genres.

A volume considering questions of conservation that arise with new artistic mediums and practices. Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved. This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.

Che cosa ci fa a New York una statua di Ulisse che, reggendo una lancia, sembra voler sfidare il mondo? Perché Le Corbusier, sommo architetto, si ribellò alle illustrazioni dell'Iliade corrispondenti allo spirito della sua epoca? Attraverso quale alchimia il grande fotografo Mimmo Jodice ha saputo dare luce e tensione emotiva a corpi e volti che apparivano chiusi in un millenario silenzio? Che cosa unisce un film di Ermanno Olmi agli eroi dei poemi omerici? In che modo la Nuova Musica del Novecento si è servita di figure come Prometeo per capovolgere il rapporto tra parola e suono? Raffinata interprete della saggezza antica, indagatrice dell'universo dei miti e delle loro innumerevoli trasposizioni nell'arte contemporanea, Maria Grazia Ciani ripercorre le mille «variazioni» sul tema di grandi classici, riannodando i fili che legano presente e passato. Se nessuna espressione umana è riuscita a sottrarsi al confronto con la potenza del mito e alla ripresa dei modelli del passato, l'autrice ne rilegge alcune in un ardito viaggio attraverso le forme della scultura, del teatro, del cinema, della pittura, fino alla fotografia: «Ho scelto una via diversa, quella della tradizione classica, frugando nelle riscritture e cercando di individuare la ricaduta di certe tematiche in autori che appaiono molto lontani – e non solo dal punto di vista temporale – dall'antichità».

‘Winner of the 2023 Selma Jeanne Cohen Prize in Dance Aesthetics, The American Society for Aesthetics.'This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice.Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance—breath, weight, tone, energy—informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools.This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art.Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

La presente obra constituye el primer esfuerzo riguroso y omniabarcador por desarrollar un relato histórico de la performance desde las experiencias que salpicaron las vanguardias hasta las formulaciones más contemporáneas.En primer lugar, se ofrece un amplio análisis sobre la presencia que las estrategias performativas tuvieron en las vanguardias históricas. Identifica después aquellas rupturas que se produjeron en el seno de la «modernidad» tras la Segunda Guerra Mundial y que condujeron a la eclosión de movimientos tan decisivos como el happening y el Fluxus. Aborda a continuación el surgimiento y desarrollo de la performance posmoderna, fruto del descentramiento del sujeto, y, finalmente, analiza la reformulación de los lenguajes performativos en el actual contexto de la globalización.En estas páginas, el autor analiza con maestría el zigzagueante itinerario trazado por las llamadas «artes vivas», también desde un punto de vista poscolonial; traza un amplio arco que desborda las estrechas concepciones, privativas de Occidente, que han ahormado con frecuencia las narrativas de la performance y se adentra en la intensa y prolija praxis artística desarrollada en territorios tradicionalmente considerados como «periféricos»: Latinoamérica, China, India, Corea del Sur o Sudáfrica. Además, habida cuenta de que la performance constituye, por definición, un «lenguaje fronterizo», expuesto continuamente a procesos de contaminación e hibridación, las cuestiones examinadas en este estudio invaden asimismo campos anejos como la danza o el teatro.

Cet ouvrage est une étude critique de la notion d'interférence élaborée à partir d'une réflexion sur les limites sémiotiques et herméneutiques de l'oeuvre d'art. Cela, à un moment précis où l'art est caractérisé par la prolifération d'expériences hybrides et/ou intermédiales, dont les frontières deviennent de plus en plus poreuses, soulevant l'idée d'un art'indiscipliné'. Pour ce faire, l'auteur propose une lecture analytique d'un ensemble de pratiques artistiques transversales (textuelles, visuelles et audiovisuelles). S'inscrivant dans des contextes historiques plus ou moins divergents, elles semblent bousculer les limites établies tant entre les arts ('effrangement des arts') qu'entre ceux-ci et les autres sphères d'activités humaines (interdisciplinarité). L'hypothèse principale est qu'il n'y a pas d'interférence possible en dehors des points de différence qui sont en même temps des points de connivence.

Margareta Ingrid Christian unpacks the ways in which, around 1900, art scholars, critics, and choreographers wrote about the artwork as an actual object in real time and space, surrounded and fluently connected to the viewer through the very air we breathe. Theorists such as Aby Warburg, Alois Riegl, Rainer Maria Rilke, and the choreographer Rudolf Laban drew on the science of their time to examine air as the material space surrounding an artwork, establishing its “milieu,” “atmosphere,” or “environment.” Christian explores how the artwork's external space was seen to work as an aesthetic category in its own right, beginning with Rainer Maria Rilke's observation that Rodin's sculpture “exhales an atmosphere” and that Cezanne's colors create “a calm, silken air” that pervades the empty rooms where the paintings are exhibited. Writers created an early theory of unbounded form that described what Christian calls an artwork's ecstasis or its ability to stray outside its limits and engender its own space. Objects viewed in this perspective complicate the now-fashionable discourse of empathy aesthetics, the attention to self-projecting subjects, and the idea of the modernist self-contained artwork. For example, Christian invites us to historicize the immersive spatial installations and “environments” that have arisen since the 1960s and to consider their origins in turn-of-the-twentieth-century aesthetics. Throughout this beautifully written work, Christian offers ways for us to rethink entrenched narratives of aesthetics and modernism and to revisit alternatives.

This book follows the hybrid and contradictory history of magic realism through the writings of three key figures – art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson – drawing links between their political, aesthetic, and philosophical ideas on art's relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinema – moving from Europe, through Latin America and the former Soviet Union, to Thailand – that emerges from these ideas. This book is invaluable to any reader interested in world modernism(s) in relation to contemporary cinema and geopolitics. Its sustained analysis of film as a sensory, intermedial medium is of interest to scholars working across the visual arts, literature, critical theory, and film-philosophy.

The African diaspora a direct result of the transatlantic slave trade and Western colonialism has generated a wide array of artistic achievements, from blues and reggae, to the paintings of the pioneering African American artist Henry Ossawa Tanner and video creations of contemporary hip-hop artists. This book concentrates on how these works, often created during times of major social upheaval and transformation, use black culture both as a subject and as context. From musings on the souls of black folk in late nineteenth-century art, to questions of racial and cultural identities in performance, media, and computer-assisted arts in the twenty-first century, this book examines the philosophical and social forces that have shaped a black presence in modern and contemporary visual culture.Now updated, this new edition helps us understand better how the first two decades of the twenty-first century have been a transformative moment in which previous assumptions about race, difference, and identity have been irrevocably altered, with art providing a useful lens through which to think about these compelling issues.

Arts and Politics of the Situationist International contextualizes the SI within a comprehensive aesthetic and theoretical framework that integrates its concepts and practical activities with previous critical thinkers, political activists, artists, and poets. The SI belongs to a history of radical gestures and cultural practices concerned with re-imagining everyday life and overcoming alienation. This book regards the SI as a critical interdisciplinary endeavor in the history of consciousness, particularly as a moment in an ongoing western-European trajectory of aesthetic negation dating back to the early nineteenth century. The chapters search for origins of the SI in French Symbolist poetry, Dada and Surrealism, Hegelian-Marxism, and Lefebvrian social theory in an effort to provide a clearly-defined ‘something'out of which the SI developed as an increasingly radical collective of artists, writers, and theorists.

In this path-breaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and eastern Europe to reveal the movements, theories and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states and the rest of the Balkans. While politics in the region have been marked by unstable geography and dramatic transitions, artists have forged a path of persistent experiment and innovation. This generously illustrated overview explores the richness of their singular contribution to recent art history. Tracing art-historical changes from the short-lived unison of the socialist realist period to the incredible diversity of art in the post-communist era, the authors examine the repercussions of political events on artistic life notably the uprisings in Hungary and Czechoslovakia, the Solidarity movement in Poland, and the collapse of the communist bloc. But their primary interest is in the experimental art of the neo-avant-garde that resisted official agendas and engaged with global currents such as performance art, video, multimedia and net art.

Die Publikation nimmt Orte in den Blick, die zwischen Identität, Relation und Geschichte schwanken. Orte in und abseits der Öffentlichkeit. Ein Ort ist durch Identität, Relation und Geschichte gekennzeichnet. Was aber ist mit den Orten, die sich innerhalb wie außerhalb der Gesellschaft befinden, die sich von der statischen Schwere des Ortes lösen und den dynamischen Raum durchdringen? Orte, die zwischen Identität, Relation und Geschichte einerseits und Ähnlichkeit und Einsamkeit andererseits schwanken? Orte in und abseits der Öffentlichkeit, öffentliche Orte des Rückzugs, der temporären Absenz, der Entsorgung – Ab-Orte? Ziel des Bandes ist es, diese Ab-Orte interdisziplinär und diskursiv aufzuspüren und sie sowohl sozialanthropologisch als auch medienphilosophisch zu verorten. Die Analyse und Konzeptionierung unterschiedlichster Ab-Orte wird dabei ebenso aus medien-, film- und literaturwissenschaftlicher Sicht wie aus der Perspektive der Raum-, Film- und Fotografietheorie, den Gender Studies und der Archivarbeit betrachtet.

In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In Disordering the Establishment Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals'modeling of society. Artists and collectives such as Daniel Buren, André Cadere, the Groupe de Recherche d'Art Visuel, and the Collectif d'Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.

Künstlerische Performances und Aktionen wurden im Ostmitteleuropa der 1970er Jahre oftmals im halböffentlichen oder privaten Raum und ohne Publikum realisiert. Die vielfältige Medialisierung der Ereignisse mittels Fotografie und Film zielte daher auf Distribution und breitere Rezeption sowie auf Archivierung. Corinna Kühn identifiziert die Vernetzung der Neoavantgarden als eine Verflechtungsgeschichte und macht den Transfer an mehreren Knoten- und Kontaktpunkten fest. Aus transnationaler Perspektive rekonstruiert sie Performances und Aktionen von Ion Grigorescu, Jiří Kovanda, Natalia LL, Endre Tót und dem Künstlerduo KwieKulik und arbeitet das subversive Potential der agierenden Körper und der untersuchten künstlerischen Praktiken in ihrem jeweiligen Kontext heraus.

Experience the interdisciplinary performance scene of the 1980s and beyond through the eyes of one of its most compelling witnesses. Jacki Apple's Performance / Media / Art / Culture traces performance art, multimedia theatre, audio arts and dance in the United States from 1983 to the present. Showcasing 35 years of Apple's critical essays and reviews, the collection explores the rise and diversification of intermedia performance; how new technologies (or rehashed old technologies) influence American culture and contemporary life; the interdependence of pop and performance culture; and the politics of art and the performance of politics. Apple writes with a journalist's attention to the immediacy of account and a historian's attention to structural aesthetic and personal networks, resulting in a volume brimming with big ideas but grounded in concentrated reviews of individual performances. Many of the pieces featured in this collection originally appeared in small press journals and magazines that have now gone out of print. Preserved and republished here for current and future readers, they offer a rich portrait of performance at the end of the millennium.

This book describes the space between modern art and the sacred by considering the source of modern consciousness in the creative imagination, exploring the territory between art and religion beyond the historical context of surrealism, and a unique state of mind embodied in surrealist art.

What would it mean to be avant-garde today? Arguing against the notion that the avant-garde is dead or confined to historically'failed'movements, this book offers a more dynamic and inclusive theory of avant-gardes that accounts for how they work in our present. Innovative in approach, Provisional Avant-Gardes focuses on the medium of the little magazine—from early Dada experiments to feminist, queer, and digital publishing networks—to understand avant-gardes as provisional and heterogeneous communities. Paying particular attention to neglected women writers, artists, and editors alongside more canonical figures, it shows how the study of little magazines can change our views of literary and art history while shedding new light on individual careers. By focusing on the avant-garde's publishing history and group dynamics, Sophie Seita also demonstrates a new methodology for writing about avant-garde practice across time, one that is applicable to other artistic and non-artistic communities and that speaks to contemporary practitioners as much as scholars. In the process, she addresses fundamental questions about the intersections of aesthetic form and politics and about what we consider to be literature and art.

The first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to include current research since the book's initial release. Viewed through a lens of music and art histories rather than philosophical theory, it covers dozens of artists and works not found in any other book on the subject. Locating sound art's roots across the centuries from spatialized church music to the technological developments of radio, sound recording, and the telephone, the book traces the evolution of sound installations and sound sculpture, the rise of sound art exhibitions and galleries, and finally looks at the critical cross-pollination that marks some of the most important and challenging art with and about sound being produced today.

Das Buch zeichnet die'Erfindung'einer Tradition der Avantgarde quer durch verschiedene historische und regionale Milieus der Moderne und Postmoderne nach. Der Schwerpunkt liegt auf Beispielen im 20. Jahrhundert: Der Berliner Dadaismus um 1920 oder die Bewegungen des europäischen Expanded Cinema und der brasilianischen New Objectivity der 1960er Jahre finden ebenso Berücksichtigung wie neoavantgardistische Praktiken in den Ländern des ehemaligen Ostblocks seit 1989 oder der zeitgenössischen Anti-Globalisierungsbewegung. Ziel der Untersuchung ist es, einen veränderten Blick auf Kontinuitäten und Innovationen bezüglich des politischen Gebrauchs von Ironie, Montage oder Verfremdung zu gewinnen.

Ausgangspunkt des vorliegenden Bandes ist der einzigartige historische Moment des Anarchismus in den ersten Jahrzehnten des 20. Jahrhunderts in Bezug nicht nur auf seine politische, sondern vor allem auf seine kulturelle Bedeutung. Anarchismus wurde zum kreativ-zerstörerischen Prinzip der avantgardistischen Bewegungen, die aus der immer akuteren Krise der europäischen Ordnung und der bürgerlichen Gesellschaft jener Jahre entstanden. Das avantgardistische Moment, getragen von einer europäischen Intelligenz zwischen ästhetischem Protest und politischer Revolte, zielte auf die Überwindung der Grenzen zwischen Kunst, Leben und Politik und entfachte eine Suche sowohl nach neuen Möglichkeiten in der Kunst wie auch nach neuen, antibürgerlichen, gesellschaftliche und sexuelle Befreiung versprechenden Lebensformen, angefangen von Künstlerkolonien bis hin zu politischen Kommunen. Das Ergebnis war ein Ferment von Kreativität und Provokationen, von dem alle späteren anarchistischen Bewegungen – von den Situationisten bis zum Mai 68, von der Beat-Generation bis zur kalifornischen New Age und zur Pop Art – inspiriert wurden.

Revistas literarias mexicanas modernas es una serie publicada por el Fondo de Cultura Económica con el propósito de poner nuevamente en circulación, en ediciones facsimilares, las principales revistas literarias aparecidas en México en la primera mitad del siglo xx. De esta manera el curioso lector y el estudioso de nuestras letras tendrán a su alcance este sector de la literatura nacional de acceso tan difícil y de tanto interés documental. Con el objeto de facilitar su consulta, cada revista va precedida por una presentación y una ficha descriptiva, y cada volumen va provisto de un índice de autores.

Samuel Beckett and the Visual Arts is the first book to comprehensively assess Beckett's knowledge of art, art history and art criticism. In his lifetime Beckett thought deeply about visual culture from ancient Egyptian statuary to Dutch realism, from Quattrocento painting to the modernists and after. Drawing on a wide range of published and unpublished sources, this book traces in forensic detail the development of Beckett's understanding of painting in particular, as that understanding developed from the late 1920s to the 1970s. In doing so it demonstrates that Beckett's thinking about art and aesthetics radically changes in the course of his life, often directly responding to the intellectual and historical contexts in which he found himself. Moving fluently between art history, philosophy, literary analysis and historical context, Samuel Beckett and the Visual Arts rethinks the trajectory of Beckett's career, and reorients his relationship to modernism, late modernism and the avant-gardes.

Revistas literarias mexicanas modernas es una serie publicada por el Fondo de Cultura Económica con el propósito de poner nuevamente en circulación, en ediciones facsimilares, las principales revistas literarias aparecidas en México en la primera mitad del siglo xx. De esta manera el curioso lector y el estudioso de nuestras letras tendrán a su alcance este sector de la literatura nacional de acceso tan difícil y de tanto interés documental. Con el objeto de facilitar su consulta, cada revista va precedida por una presentación y una ficha descriptiva, y cada volumen va provisto de un índice de autores.

Revistas literarias mexicanas modernas es una serie publicada por el Fondo de Cultura Económica con el propósito de poner nuevamente en circulación, en ediciones facsimilares, las principales revistas literarias aparecidas en México en la primera mitad del siglo xx. De esta manera el curioso lector y el estudioso de nuestras letras tendrán a su alcance este sector de la literatura nacional de acceso tan difícil y de tanto interés documental. Con el objeto de facilitar su consulta, cada revista va precedida por una presentación y una ficha descriptiva, y cada volumen va provisto de un índice de autores.

Most artists work alone, but some find a creative partner and team up for their entire careers. Artistic collaborators often testify that their work done jointly is better than what each person could create on his or her own. They say this collaboration is like marriage in the way that both partners benefit from a commitment to shared goals, excellent communication and trust. Based on studio visits and in-depth interviews, this book reports on more than forty collaborating sculptors, painters, printmakers, photographers, architechs and performers who have worked in tandem with other artists.

Gendering Modernism offers a critical reappraisal of the modernist movement, asking how gender norms of the time shaped the rebellion of the self-avowed modernists and examining the impact of radical gender reformers on modernism. Focusing primarily on the connections between North American and European modernists, Maria Bucur explains why it is imperative that we consider the gender angles of modernism as a way to understand the legacies of the movement. She provides an overview of the scholarship on modernism and an analysis of how definitions of modernism have evolved with that scholarship. Interweaving vivid case studies from before the Great War to the interwar period - looking at individual modernists from Ibsen to Picasso, Hannah Höch to Josephine Baker - she covers various fields such as art, literature, theatre and film, whilst also demonstrating how modernism manifested itself in the major social-political and cultural shifts of the 20th century, including feminism, psychology, sexology, eugenics, nudism, anarchism, communism and fascism.This is a fresh and wide-ranging investigation of modernism which expands our definition of the movement, integrating gender analysis and thereby opening up new lines of enquiry. Written in a lively and accessible style, Gendering Modernism is a crucial intervention into the literature which should be read by all students and scholars of the modernist movement as well 20th-century history and gender studies more broadly.

Since its original publication in 1996, Marvin Carlson's Performance: A Critical Introduction has remained the definitive guide to understanding performance as a theatrical activity. It is an unparalleled exploration of the myriad ways in which performance has been interpreted, its importance to disciplines from anthropology to linguistics, and how it underpins essential concepts of human society. In this comprehensively revised and updated third edition, Carlson tackles the pressing themes and theories of our age, with expanded coverage of : the growth and importance of racial and ethnic performance; the emergence of performance concerned with age and disability; the popularity and significance of participatory and immersive theatre; the crucial relevance of identity politics and cultural performance in the twenty-first century. Also including a fully updated bibliography and glossary, this classic text is an invaluable touchstone for any student of performance studies, theatre history, and the performing and visual arts.

A study of walking as artistic action, from Surrealism to Fluxus.Walking, that most basic of human actions, was transformed in the twentieth century by Surrealism, the Situationist International, and Fluxus into a tactic for revolutionizing everyday life. Each group chose locations in the urban landscape as sites—from the flea markets and bars of Paris to the sidewalks of New York—and ambulation as the essential gesture. Keep Walking Intently traces the meandering and peculiar footsteps of these avant-garde artists as they moved through the city, encountering the marvelous, studying the environment, and re-enchanting the banal. Art historian Lori Waxman reveals the radical potential that walking holds for us all.

This selection of essays by one of C. G. Jung's favorite and most creative students explores important connections between analytical psychology and the study of literature and art.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in'visual culture'should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works'meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form.

1965 formulierte die Choreographin Yvonne Rainer ihr radikales No Manifesto. Es begann mit den Worten »NO to spectacle« und wurde zu einem der wirkmächtigsten Manifeste in der Kunst: Es sollte »die Luft klären«. Ob dies gelungen ist, welche Wirkungskraft künstlerische Manifeste seither entfalten, wie sie sich in unterschiedlichen medialen Kontexten und im digitalen Zeitalter niederschlagen und welche politischen Perspektiven ihnen inhärent sind, zeigen die Beiträger_innen des interdisziplinären Bandes u.a. an Beispielen der Gruppe SPUR, Georg Baselitz, Pina Bausch oder Kanak Attack.

Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, it claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Photographic stillness becomes a means to resist the ephemerality of motion and to get at and articulate something real or essential by way of its fixed limits. Combining art history, film studies and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Still Modernism brings together a series of canonical texts, films, and photographs, the selection of which reinforces the central claim that stillness does not lurk at the margins of modernism, but was constitutive of its very foundations. In a series of comparisons drawing from literary and visual objects, Hornby argues that still photography allows film to access its own diffuse images of motion; photography's duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow for the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.

Modernist movements radically transformed the late nineteenth- and early twentieth-century literary establishment, and their effects are still felt today. Modernism introduces and analyzes what amounted to nothing less than a literary and cultural revolution.In this fully updated, expanded, and revised third edition, charting modernism in its global and local contexts, Peter Childs: details the origins of modernism and the influence of thinkers such as Darwin, Marx, Freud, Nietzsche, Saussure and Einstein explores the radical changes which occurred in the arts, literature, drama, and film of the period traces'modernism at work'in literature, especially in writings by a range of British, Irish, American and other Anglophone authors including James Joyce, Virginia Woolf, Samuel Beckett, Nella Larsen, Gertrude Stein, Katherine Mansfield, T. S. Eliot, and many others explains recent critical interest in the culture and worldwide impact of modernism reflects upon the shift from modernism to postmodernism. At once accessible and critically informed, Modernism guides readers from first steps in the field to an advanced understanding of one of the most important cultural phenomena of the last centuries.

Bohemia has been variously defined as a mythical country, a state of mind, a tavern by the wayside on the road of life. The editors of this volume prefer a leaner definition: an attitude of dissent from the prevailing values of middle-class society, one dependent on the existence of caf life. But whatever definition is preferred, this rich and long overdue collective portrait of Bohemian life in a large variety of settings is certain to engage and even entrance readers of all types: from the student of culture to social researchers and literary figures n search of their ancestral roots. The work is international in scope and social scientific in conception. But because of the special nature of the Bohemian fascination, the volume is also graced by an unusually larger number of exquisite literary essays. Hence, one will find in this anthology writings by Malcolm Cowely, Norman Podhoretz, Norman Mailer, Theophile Gautier, Honore de Balzac, Mary Austin, Stefan Zweig, Nadine Gordimer, and Ernest Hemingway. Social scientists are well represented by Cesar Grana, Ephraim Mizruchi, W.I. Thomas, Florian Znaniecki, Harvey Zorbaugh, John R. Howard, and G. William Domhoff, among others.The volume is sectioned into major themes in the history of Bohemia: social and literary origins, testimony by the participants, analysis by critics of and crusaders for the bohemian life, the ideological characteristics of the bohemians, and the long term prospect as well as retrospect for bohemenianism as a system, culture and ideology. The editors have provided a framework for examining some fundamental themes in social structure and social deviance: What are the levels of toleration within a society? Do artists deserve and receive special treatment by the powers that be? And what are the connections between bohemian life-styles and political protest movements?This is an anthology and not a treatise, so the reader is free to pick and choose not only wha

Expanding upon longstanding concerns in cultural history about the relation of text and image, this book explores how ideas move across and between expressive forms. The contributions draw from art and architectural history, film, theater, performance studies, and social and cultural history to identify and dissect the role that the visual and performing arts can play in the experience and understanding of the past.The essays highlight the role of oral history in the documentation of the visual and performing arts. They share a common set of questions as they explore, firmly grounded in their distinctive disciplinary standpoints, the circuit of word, gesture, object in the formation and reproduction of knowledge, identity, and community. Blending theory and case study, they cover subjects such as the response of artists to the South African Truth and Reconciliation Commission; violence in Columbia and Mexico and the Balkan Wars; the circuit of sexual desire in contemporary art and photography; and sites of collective and personal memory, including the Internet, the urban landscape, family photographs, and hip hop.Stressing the relationship of media to the formation of collective memory, the volume explores how media intertextuality creates overlapping repertoires for understanding the past and the present. Scholars of art history, media and cultural studies, literature, and performance studies will all find this work a valuable resource.

Siegfried Kracauers Werk in seiner Breite und Originalität steht im Zentrum dieses Bandes, der in internationaler und interdisziplinärer Perspektivierung eine Vielzahl der Themen, Denkfiguren und Schreibweisen des Autors analysiert. Kaum ein Intellektueller steht wohl so konsequent und facettenreich für das 20. Jahrhundert wie Siegfried Kracauer, dessen Todestag sich am 26. November 2016 zum 50. Mal jährt. Wie nur wenige andere hat Kracauer ein Spektrum an Interessen und Disziplinen abgedeckt, das für die kulturellen und intellektuellen Konstellationen seiner Zeit paradigmatische Geltung besitzt.

Volume 6 (2016) is an open issue with an emphasis on Nordic countries (Denmark, Finland, Lithuania, Estonia, Iceland). Four essays focus on Russia, two on music; other contributions are concerned with Egypt, USA and Korea. Furthermore there are sections on Futurist archives, Futurism in caricatures and Futurism in fiction.

Diffidare dei cartelli segnaletici: con Arbasino è la prima regola da osservare, perché ciascuno di questi ritratti ‘si morula'– direbbe Gadda – in infiniti altri ritratti, in altre imprevedibili storie. È quel che succede, alla lettera A, con Harold Acton, che fa risorgere la Firenze soavemente cosmopolita tra le due guerre, un crocevia dove si muovono Bernard Berenson, Vernon Lee, Aldous Huxley, D.H. Lawrence, Ronald Firbank, Norman Douglas, Edith Sitwell. O, alla lettera N, con il figlio di Vita Sackville-West e Harold Nicolson, Nigel: qui verremo addirittura inghiottiti da un dramma – qualcosa di simile a «un delirio dei Fratelli Marx sull'Orient Express» – che sconvolge quattro coniugi, otto suoceri e «parecchie zie cattive», con innumerevoli traversate della Manica, «nelle due direzioni, e sempre con un tempo orribile». Ritratti doppi, insomma, e molto di più: scintillanti ‘trascritture'di opere musicali e teatrali (non perdetevi il'Barbablù'di Béla Bartók, «un impotente che si diletta nel collezionismo di ninnoli Sadik e soprammobili Diabolik», né la'Carmen'di Brook, dove Escamillo è un barbiere lezioso con pronuncia «gotico-pizzaiola»), e di mirabolanti luoghi, come le residenze di Ludwig II di Baviera, che neppure un «tycoon americano degli anni favolosi» avrebbe saputo concepire. Senza contare gli ormai ‘mitici'ritratti dal vivo (la cinese Ding Ling, ad esempio, a casa della quale c'è un'aria «come fra Pupella Maggio e Paola Borboni»), le conversazioni ‘à bâtons rompus', gli affondi critici che valgono un intero libro e le scorribande fra i ‘santini'di una letteratura ahimè sfornita «di eros e di esprit e di senso della battuta»: Manzoni, Parini, Pascoli – e De Amicis, che ritroviamo a Costantinopoli, in un bagno turco, torturato da due mulatti: «Cioè, praticamente, ecco Al Pacino nel film'Cruising'».

Fondato nel 1909 da Filippo Tommaso Marinetti, il futurismo con le sue idee, creazioni e provocazioni ha inventato il codice dell'avanguardia artistica. Animato da un progetto di rinnovamento globale, lasciò un segno in tutte le discipline artistiche e numerosi aspetti della vita: letteratura, pittura, scultura, musica, teatro, architettura, cinema, fotografia, visione della donna, politica, pubblicità, moda, arredamento e cucina. Con un'intensa azione promozionale, attraverso mostre, conferenze e pubblicazioni, si fece conoscere anche all'estero, influendo sulle avanguardie del Novecento. Questo libro ricostruisce la sua straordinaria avventura che rappresenta quel grande laboratorio di sperimentazioni in cui affondano le radici della nostra modernità.

Crossing disciplinary and chronological boundaries, this volume integrates text and image, essays and object pages to explore the processes inherent in gender representation, rather than resituating women in particular categories or spheres as other scholarly publications and exhibitions have done. Taking its lead from the'Picturing'Women project on which it reflects and builds, the volume makes a substantial methodological contribution to the analysis of gender discourse and visuality. It offers new and stimulating scholarship that confronts historical patterns of representation that have defined what women were and are seen to be, and presents new contexts for unveiling what art historian Linda Nochlin has called the'mixed messages'of representations of women.

What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment? Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period of cultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity. Contemporary reflections by those who shaped avant-garde and contestatory culture in the UK, US, Brazil and Poland in the 1970s and 1980s. Alongside these are contributions by contemporary artists, curators and scholars that provide critical perspectives on post-punk then, and its generative relation to the aesthetics and politics of cultural production today.

Dada is often celebrated for its strategies of shock and opposition, but in Dada Presentism, Maria Stavrinaki provides a new picture of Dada art and writings as a lucid reflection on history and the role of art within it. The original (Berlin-based) Dadaists'acute historical consciousness and their modern experience of time, she contends, anticipated the formulations of major historians such as Reinhart Koselleck and, more recently, François Hartog. The book explores Dada temporalities and concepts of history in works of art, artistic discourse, and in the photographs of the Berlin Dada movement. These photographs—including the famous one of the First International Dada Fair—are presented not as simple, transparent documents, but as formal deployments conforming to a very concrete theory of history. This approach allows Stavrinaki to link Dada to more contemporary artistic movements and practices interested in history and the archive. At the same time, she investigates what seems to be a real oxymoron of the movement: its simultaneous claim to the ephemeral and its compulsive writing of its own history. In this way, Dada Presentism also interrogates the limits between history and fiction.

Since its rediscovery in the early 20th century, through spectacular finds such as those by Sir Arthur Evans at Knossos, Minoan Crete has captured the imagination not only of archaeologists but also of a wider public. This is shown, among other things, by its appearance and uses in a variety of modern cultural practices: from the innovative dances of Sergei Diaghilev and Ted Shawn, to public and vernacular architecture, psychoanalysis, literature, sculpture, fashion designs, and even neo-pagan movements, to mention a few examples.Cretomania is the first volume entirely devoted to such modern responses to (and uses of) the Minoan past. Although not an exhaustive and systematic study of the reception of Minoan Crete, it offers a wide range of intriguing examples and represents an original contribution to a thus far underexplored aspect of Minoan studies: the remarkable effects of Minoan Crete beyond the narrow boundaries of recondite archaeological research.The volume is organised in three main sections: the first deals with the conscious, unconscious, and coincidental allusions to Minoan Crete in modern architecture, and also discusses archaeological reconstructions; the second presents examples from the visual and performing arts (as well as other cultural practices) illustrating how Minoan Crete has been enlisted to explore and challenge questions of Orientalism, religion, sexuality, and gender relations; the third focuses on literature, and shows how the distant Minoan past has been used to interrogate critically more recent Greek history.

This book tells, for the first time, the story of the Situationist International's influence and afterlives in Britain, where its radical ideas have been rapturously welcomed and fiercely resisted. The Situationist International presented itself as the culmination of the twentieth century avant-garde tradition — as the true successor of Dada and Surrealism. Its grand ambition was not unfounded. Though it dissolved in 1972, generations of artists and writers, theorists and provocateurs, punks and psychogeographers have continued its effort to confront and contest the ‘society of the spectacle.'This book constructs a long cultural history, beginning in the interwar period with the arrival of Surrealism to Britain, moving through the countercultures of the 1950s and 1960s, and finally surveying the directions in which Situationist theory and practice are being taken today. It combines agile historicism with close readings of a vast range of archival and newly excavated materials, including newspaper reports, underground pamphlets, Psychogeographical films, and experimental novels. It brings to light an overlooked but ferociously productive period of British avant-garde practice, and demonstrates how this subterranean activity helps us to understand postwar culture, late modernism, and the complex internationalization of the avant-garde. As popular and academic interest in the Situationists grows, this book offers an important contribution to the international history of the avant-garde and Surrealism. It will prove a valuable resource for researchers and students of English and Comparative Literature, Modernism and the Avant-Gardes, Twentieth Century and Contemporary History, Cultural Studies, Art History, and Political Aesthetics.

Rien n'est plus étranger à l'esprit dada que la consécration. Le rejet de toute autorité et l'abandon du culte de la personnalité constituent même les rares principes qui ont animé, de 1916 à 1922, la geste dada...À PROPOS DE L'ENCYCLOPAEDIA UNIVERSALISReconnue mondialement pour la qualité et la fiabilité incomparable de ses publications, Encyclopaedia Universalis met la connaissance à la portée de tous. Écrite par plus de 7 200 auteurs spécialistes et riche de près de 30 000 médias (vidéos, photos, cartes, dessins…), l'Encyclopaedia Universalis est la plus fiable collection de référence disponible en français. Elle aborde tous les domaines du savoir.