Camilo D. Trumper
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520289901
- eISBN:
- 9780520964303
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520289901.001.0001
- Subject:
- History, Latin American History
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first ...
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Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.Less
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.
Heba Salem and Kantaro Taira
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789774165337
- eISBN:
- 9781617971303
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774165337.003.0005
- Subject:
- Society and Culture, Middle Eastern Studies
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product ...
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Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.Less
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.
Richard I. Cohen (ed.)
- Published in print:
- 2018
- Published Online:
- August 2018
- ISBN:
- 9780190912628
- eISBN:
- 9780190912659
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190912628.003.0027
- Subject:
- Religion, Judaism, Religion and Society
This chapter reviews the book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015), by Diana L. Linden. Ben Shahn’s New Deal Murals is about Ben Shahn, whom Linden considers an ...
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This chapter reviews the book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015), by Diana L. Linden. Ben Shahn’s New Deal Murals is about Ben Shahn, whom Linden considers an American Jew rather than a Jewish American. Linden studies a few of Shahn’s murals and a related easel painting, all conceived or completed between 1933 and 1943. She focuses on four large projects (one unrealized) from the vantage point of Shahn’s Jewish identity and leftist politics, contextualizing the art alongside the history of the American Jewish experience. Working first and foremost as an art historian, she explores Shahn’s iconography and the desires of his patrons. According to Linden, Shahn’s art is “neither solely American nor solely Jewish but rather an alchemic combination of the two.”Less
This chapter reviews the book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015), by Diana L. Linden. Ben Shahn’s New Deal Murals is about Ben Shahn, whom Linden considers an American Jew rather than a Jewish American. Linden studies a few of Shahn’s murals and a related easel painting, all conceived or completed between 1933 and 1943. She focuses on four large projects (one unrealized) from the vantage point of Shahn’s Jewish identity and leftist politics, contextualizing the art alongside the history of the American Jewish experience. Working first and foremost as an art historian, she explores Shahn’s iconography and the desires of his patrons. According to Linden, Shahn’s art is “neither solely American nor solely Jewish but rather an alchemic combination of the two.”
Linnea Wren, Kaylee Spencer, and Travis Nygard
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780813054964
- eISBN:
- 9780813053417
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813054964.003.0009
- Subject:
- Archaeology, Prehistoric Archaeology
The murals of the Upper Temple of the Jaguars present highly detailed and semi-mythologized representations of warfare through the vantage point of victorious forces. While previous interpretations ...
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The murals of the Upper Temple of the Jaguars present highly detailed and semi-mythologized representations of warfare through the vantage point of victorious forces. While previous interpretations have focused on the male combatants and the potential locations of the battles, this chapter focuses on the women who are targets of warfare. The authors propose that one goal of Itza conquest was the attainment of female labor and that, in pursuit of that aim, women were potential subjects of disturbing acts of violence.Less
The murals of the Upper Temple of the Jaguars present highly detailed and semi-mythologized representations of warfare through the vantage point of victorious forces. While previous interpretations have focused on the male combatants and the potential locations of the battles, this chapter focuses on the women who are targets of warfare. The authors propose that one goal of Itza conquest was the attainment of female labor and that, in pursuit of that aim, women were potential subjects of disturbing acts of violence.
