Mary-Jo DelVecchio Good and Byron J. Good
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520252233
- eISBN:
- 9780520941021
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520252233.003.0003
- Subject:
- Anthropology, Medical Anthropology
This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual ...
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This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual and discursive, private and public, and images of past, present, and future during the early period of post-Suharto reformation. It describes several notable works by Indonesian artists including Yuli Kodo's Indonesia Sakit, Alex Luthfi's Kado Reformasi, and Entang Wiharso's Don't Touch Me. The chapter suggests that these works reveal how the transformation of political engagements led to these artists' newfound subjectivity as post-New Order Indonesian citizens capable of publicly critiquing the state as well as reenvisioning, through their paintings, imagined possibilities for a new democratic Indonesian state.Less
This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual and discursive, private and public, and images of past, present, and future during the early period of post-Suharto reformation. It describes several notable works by Indonesian artists including Yuli Kodo's Indonesia Sakit, Alex Luthfi's Kado Reformasi, and Entang Wiharso's Don't Touch Me. The chapter suggests that these works reveal how the transformation of political engagements led to these artists' newfound subjectivity as post-New Order Indonesian citizens capable of publicly critiquing the state as well as reenvisioning, through their paintings, imagined possibilities for a new democratic Indonesian state.
Nizan Shaked
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784992750
- eISBN:
- 9781526128171
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992750.003.0001
- Subject:
- Art, Art History
The introduction addresses two intersecting trajectories in American art between the late 1960s and the early twenty-first-century century. On the one hand, it traces the ways in which disciplinary ...
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The introduction addresses two intersecting trajectories in American art between the late 1960s and the early twenty-first-century century. On the one hand, it traces the ways in which disciplinary Conceptual Art, with a capital “C”, expanded into the diverse set of practices that have been characterised generally as conceptualism. On the other hand, it shows how the expansion of a critical conceptualism has been strongly informed by the turbulent rights-based politics of the 1960s. Initially, first generation Conceptual artists responded to preceding art movements within disciplinary boundaries, examining the definition of art itself and engaging abstract concerns. Artists then applied the basic principles of Conceptual Art to address a range of social and political issues. This development reflects the influence of Civil Rights, Black Power, the student movement, the anti-war movement, second wave feminism, and the gay liberation movement. Central in the American context, the multiple identity-based mobilisations that came to be known as “identity politics” were further articulated in the 1970s. The artists addressed in this book: Adrian Piper, Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Andrea Fraser, Hans Haacke, and Charles Gaines expanded the propositions of Conceptual Art.Less
The introduction addresses two intersecting trajectories in American art between the late 1960s and the early twenty-first-century century. On the one hand, it traces the ways in which disciplinary Conceptual Art, with a capital “C”, expanded into the diverse set of practices that have been characterised generally as conceptualism. On the other hand, it shows how the expansion of a critical conceptualism has been strongly informed by the turbulent rights-based politics of the 1960s. Initially, first generation Conceptual artists responded to preceding art movements within disciplinary boundaries, examining the definition of art itself and engaging abstract concerns. Artists then applied the basic principles of Conceptual Art to address a range of social and political issues. This development reflects the influence of Civil Rights, Black Power, the student movement, the anti-war movement, second wave feminism, and the gay liberation movement. Central in the American context, the multiple identity-based mobilisations that came to be known as “identity politics” were further articulated in the 1970s. The artists addressed in this book: Adrian Piper, Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Andrea Fraser, Hans Haacke, and Charles Gaines expanded the propositions of Conceptual Art.
Nizan Shaked
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784992750
- eISBN:
- 9781526128171
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992750.003.0002
- Subject:
- Art, Art History
This chapter asks how a precisely articulated set of practices, defined by artists in the 1960s as Conceptual Art, evolve into a broad notion of conceptualism, and how the latter had expanded into ...
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This chapter asks how a precisely articulated set of practices, defined by artists in the 1960s as Conceptual Art, evolve into a broad notion of conceptualism, and how the latter had expanded into its present forms. It shows how, in the United States context, some of the most important strategies of conceptualism developed through the influence of contemporaneous politics, more specifically the transition from Civil Rights into Black Power, the New Left, the anti-war movement, feminism, and gay liberation, as well as what later came to be collectively named “identity politics” in the 1970s. A range of artists who have self-defined as conceptualists synthesised Conceptual analytic approaches with an outlook on identity formation as a means of political agency, and not as a representation of the self, a strategy that significantly expanded in the 1970s. Two major aspects of identity politics have impacted the field. The first, activist and administrative, consisted of protests against existing institutions, the developments of action groups and collectives, and the subsequent formulation of alternative spaces. The second was the bearing that it had on artistic strategy, form, and subject matter. This chapter focuses on practices that took a critical outlook on identity formation.Less
This chapter asks how a precisely articulated set of practices, defined by artists in the 1960s as Conceptual Art, evolve into a broad notion of conceptualism, and how the latter had expanded into its present forms. It shows how, in the United States context, some of the most important strategies of conceptualism developed through the influence of contemporaneous politics, more specifically the transition from Civil Rights into Black Power, the New Left, the anti-war movement, feminism, and gay liberation, as well as what later came to be collectively named “identity politics” in the 1970s. A range of artists who have self-defined as conceptualists synthesised Conceptual analytic approaches with an outlook on identity formation as a means of political agency, and not as a representation of the self, a strategy that significantly expanded in the 1970s. Two major aspects of identity politics have impacted the field. The first, activist and administrative, consisted of protests against existing institutions, the developments of action groups and collectives, and the subsequent formulation of alternative spaces. The second was the bearing that it had on artistic strategy, form, and subject matter. This chapter focuses on practices that took a critical outlook on identity formation.
Demetrios S. Katos
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199696963
- eISBN:
- 9780191731969
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199696963.003.0003
- Subject:
- Religion, Early Christian Studies, Church History
This chapter argues that the Dialogue on the Life of St. John Chrysostom should be understood as a legal argument in defense of John composed in accordance with the principles of late antique ...
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This chapter argues that the Dialogue on the Life of St. John Chrysostom should be understood as a legal argument in defense of John composed in accordance with the principles of late antique judicial rhetoric found in the Art of Political Speech (Anonymous Seguerianus) and Art of Rhetoric, attributed to Apsines of Gadara. This chapter analyzes the Dialogue in terms of its four constitutive parts, namely, the introduction [proemion], narration [diegesis], argumentation [kataskeue or pistis], and conclusion [epilogos] and explains the purpose and historical value of each. This chapter reveals that Palladius used the dialogue form to mimic courtroom debate and that he subordinated all narrative elements to the argumentation. It is the argumentation that is at the very heart of the Dialogue, even though its significance has been ignored or even dismissed by most scholarship which has long viewed the dialogue as a historical or biographical narrative.Less
This chapter argues that the Dialogue on the Life of St. John Chrysostom should be understood as a legal argument in defense of John composed in accordance with the principles of late antique judicial rhetoric found in the Art of Political Speech (Anonymous Seguerianus) and Art of Rhetoric, attributed to Apsines of Gadara. This chapter analyzes the Dialogue in terms of its four constitutive parts, namely, the introduction [proemion], narration [diegesis], argumentation [kataskeue or pistis], and conclusion [epilogos] and explains the purpose and historical value of each. This chapter reveals that Palladius used the dialogue form to mimic courtroom debate and that he subordinated all narrative elements to the argumentation. It is the argumentation that is at the very heart of the Dialogue, even though its significance has been ignored or even dismissed by most scholarship which has long viewed the dialogue as a historical or biographical narrative.
Nizan Shaked
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784992750
- eISBN:
- 9781526128171
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992750.001.0001
- Subject:
- Art, Art History
The synthetic proposition: Conceptualism and the political referent in contemporary art examines the impact of Civil Rights, Black Power, the student, feminist and the sexual-liberty movements on ...
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The synthetic proposition: Conceptualism and the political referent in contemporary art examines the impact of Civil Rights, Black Power, the student, feminist and the sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the present. It focuses on the turn to political reference in practices originally concerned with philosophically abstract ideas, and traces key strategies in contemporary art today to the reciprocal influences of conceptualism and identity politics, movements that have so far been historicized as mutually exclusive. It demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. Commencing with the early oeuvre of Adrian Piper, a first generation Conceptual artist, this book offers a study of interlocutors that expanded the practice into a broad notion of conceptualism, including Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser, and Charles Gaines. By turning to social issues, these artists analyzed the cultural conventions embedded in modes of reference and representation such as language, writing, photography, moving image, or installation and exhibition display.Less
The synthetic proposition: Conceptualism and the political referent in contemporary art examines the impact of Civil Rights, Black Power, the student, feminist and the sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the present. It focuses on the turn to political reference in practices originally concerned with philosophically abstract ideas, and traces key strategies in contemporary art today to the reciprocal influences of conceptualism and identity politics, movements that have so far been historicized as mutually exclusive. It demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. Commencing with the early oeuvre of Adrian Piper, a first generation Conceptual artist, this book offers a study of interlocutors that expanded the practice into a broad notion of conceptualism, including Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser, and Charles Gaines. By turning to social issues, these artists analyzed the cultural conventions embedded in modes of reference and representation such as language, writing, photography, moving image, or installation and exhibition display.
Laurie Shrage
- Published in print:
- 2003
- Published Online:
- November 2003
- ISBN:
- 9780195153095
- eISBN:
- 9780199870615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019515309X.003.0003
- Subject:
- Philosophy, Moral Philosophy
Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather ...
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Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather than participate in public discourses that construe individual responsibility and liberty as simple moral alternatives, considers feminist political art that raises questions about our collective responsibilities to support others. Also considers visual and performance artwork that draws attention to the way that pregnancy and persons are culturally constructed. Urges reproductive rights activists to jettison the coat hanger image in favor of images that would promote constructive public dialog on access to contraception, child and family support, the duties of all citizens to provide life‐saving help, the positive aspects of enabling women to control their fertility, and the dangers of religious extremism.Less
Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather than participate in public discourses that construe individual responsibility and liberty as simple moral alternatives, considers feminist political art that raises questions about our collective responsibilities to support others. Also considers visual and performance artwork that draws attention to the way that pregnancy and persons are culturally constructed. Urges reproductive rights activists to jettison the coat hanger image in favor of images that would promote constructive public dialog on access to contraception, child and family support, the duties of all citizens to provide life‐saving help, the positive aspects of enabling women to control their fertility, and the dangers of religious extremism.
Karen Mary Davalos
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781479877966
- eISBN:
- 9781479825165
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479877966.003.0003
- Subject:
- Society and Culture, Latin American Studies
This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the ...
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This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the period 1969–1978, the chapter illustrates how the earliest ventures operated with complex and nuanced views about commerce, politics, community, and the arts. It challenges notions in Chicana/o studies that dismiss commerce as antithetical to Chicano movement or community politics, and it finds that Mechicano Art Center and Goez Art Studios and Gallery exceed notions of civic and cultural engagement, inaugurated pedagogies now central in Chicana/o studies and arts institutions, and mapped a decolonial imaginary for Los Angeles.Less
This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the period 1969–1978, the chapter illustrates how the earliest ventures operated with complex and nuanced views about commerce, politics, community, and the arts. It challenges notions in Chicana/o studies that dismiss commerce as antithetical to Chicano movement or community politics, and it finds that Mechicano Art Center and Goez Art Studios and Gallery exceed notions of civic and cultural engagement, inaugurated pedagogies now central in Chicana/o studies and arts institutions, and mapped a decolonial imaginary for Los Angeles.
Jacopo Galimbert, Noemi de Haro García, and Victoria H. F. Scott (eds)
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526117465
- eISBN:
- 9781526150486
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526117472
- Subject:
- Art, Art History
Many people in the West can recognise an image of Mao Zedong (1894–1976) and know that he was an important Chinese leader, but few appreciate the breadth and depth of his political and cultural ...
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Many people in the West can recognise an image of Mao Zedong (1894–1976) and know that he was an important Chinese leader, but few appreciate the breadth and depth of his political and cultural significance. Fewer still know what the Chinese Cultural Revolution (1966–76) was, or understand the extent of its influence on art in the West or in China today. This anthology, which is the first of its kind, contends that Maoism and the Chinese Cultural Revolution were dominant cultural and political forces in the second half of the twentieth century – and that they continue to exert influence, globally, right up to the present. In particular, the book claims that the Chinese Cultural Revolution deserves a more prominent place in twentieth-century art history. Exploring the dimensions of Mao’s cultural influence through case studies, and delineating the core of his aesthetic programme, in both the East and the West, constitute the heart of this project. While being rooted in the tradition of social art history and history, the essays, which have been written by an international community of scholars, foreground a distinctively multidisciplinary approach. Collectively they account for local, regional and national differences in the reception, adoption and dissemination of – or resistance to – Maoist aesthetics.Less
Many people in the West can recognise an image of Mao Zedong (1894–1976) and know that he was an important Chinese leader, but few appreciate the breadth and depth of his political and cultural significance. Fewer still know what the Chinese Cultural Revolution (1966–76) was, or understand the extent of its influence on art in the West or in China today. This anthology, which is the first of its kind, contends that Maoism and the Chinese Cultural Revolution were dominant cultural and political forces in the second half of the twentieth century – and that they continue to exert influence, globally, right up to the present. In particular, the book claims that the Chinese Cultural Revolution deserves a more prominent place in twentieth-century art history. Exploring the dimensions of Mao’s cultural influence through case studies, and delineating the core of his aesthetic programme, in both the East and the West, constitute the heart of this project. While being rooted in the tradition of social art history and history, the essays, which have been written by an international community of scholars, foreground a distinctively multidisciplinary approach. Collectively they account for local, regional and national differences in the reception, adoption and dissemination of – or resistance to – Maoist aesthetics.
Joseph P. Ansell
- Published in print:
- 2004
- Published Online:
- February 2021
- ISBN:
- 9781874774945
- eISBN:
- 9781789623314
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781874774945.001.0001
- Subject:
- Religion, Judaism
Artist and illustrator Arthur Szyk was a Polish Jew whose work was overwhelmingly Jewish in theme and content. The mission he set himself was to use his artistic talents to serve humanity and the ...
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Artist and illustrator Arthur Szyk was a Polish Jew whose work was overwhelmingly Jewish in theme and content. The mission he set himself was to use his artistic talents to serve humanity and the Jewish people. His work as a political artist went well beyond a narrow definition of the Jewish cause. He is best known among Jews for his illustrated Haggadah, but the majority of his work deals with contemporary political themes and social causes. In Poland, Szyk promoted the causes of freedom, toleration, and human dignity. He believed that as a Jewish artist he had a responsibility to speak for all minorities. He worked for years on behalf of the Polish government in an effort to strengthen the Jews' position. Szyk left Europe in 1940 and arrived in the United States later the same year. Determined to use his art for political purposes, he crusaded against the Nazis. Convinced that Hitler would not stop with the Jews but would suppress all freedom-loving people, he supported the war effort through his striking propaganda images of the German and Japanese armies, to great effect. After the war he turned his efforts to promoting the idea of a Jewish homeland in Israel. In every phase of his career, one finds Szyk looking to the past but hoping for the future; he believed that art could make a difference in the world, politically and socially. This biography makes a singular contribution to the history of Jewish art and of Polish–Jewish relations in the first half of the twentieth century.Less
Artist and illustrator Arthur Szyk was a Polish Jew whose work was overwhelmingly Jewish in theme and content. The mission he set himself was to use his artistic talents to serve humanity and the Jewish people. His work as a political artist went well beyond a narrow definition of the Jewish cause. He is best known among Jews for his illustrated Haggadah, but the majority of his work deals with contemporary political themes and social causes. In Poland, Szyk promoted the causes of freedom, toleration, and human dignity. He believed that as a Jewish artist he had a responsibility to speak for all minorities. He worked for years on behalf of the Polish government in an effort to strengthen the Jews' position. Szyk left Europe in 1940 and arrived in the United States later the same year. Determined to use his art for political purposes, he crusaded against the Nazis. Convinced that Hitler would not stop with the Jews but would suppress all freedom-loving people, he supported the war effort through his striking propaganda images of the German and Japanese armies, to great effect. After the war he turned his efforts to promoting the idea of a Jewish homeland in Israel. In every phase of his career, one finds Szyk looking to the past but hoping for the future; he believed that art could make a difference in the world, politically and socially. This biography makes a singular contribution to the history of Jewish art and of Polish–Jewish relations in the first half of the twentieth century.
Maurizio Peleggi
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866068
- eISBN:
- 9780824876913
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866068.001.0001
- Subject:
- History, Asian History
Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to ...
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Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.Less
Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.
Jacopo Galimberti, Noemi de Haro García, and Victoria H. F. Scott (eds)
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526117465
- eISBN:
- 9781526150486
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526117472.00005
- Subject:
- Art, Art History
Art and images were and continue to be central channels for the transnational circulation and reception of Maoism. While there are several books about the significance of Mao Zedong and the Chinese ...
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Art and images were and continue to be central channels for the transnational circulation and reception of Maoism. While there are several books about the significance of Mao Zedong and the Chinese Cultural Revolution, this collection of seventeen essays constitutes the first effort to demonstrate the global influence of Maoism on art and images, from 1945 to the present. The Introduction explores the protean quality of this political phenomenon, especially when it crossed paths with, and was expressed through, the visual arts. After providing an overview of the contents and organisation of the chapters, which challenge the traditional geographies of art history, the Introduction states that collectively, the studies reveal that the cultural contradictions that are always present in art and art history research remain a powerful source of political social, and aesthetic transformation.Less
Art and images were and continue to be central channels for the transnational circulation and reception of Maoism. While there are several books about the significance of Mao Zedong and the Chinese Cultural Revolution, this collection of seventeen essays constitutes the first effort to demonstrate the global influence of Maoism on art and images, from 1945 to the present. The Introduction explores the protean quality of this political phenomenon, especially when it crossed paths with, and was expressed through, the visual arts. After providing an overview of the contents and organisation of the chapters, which challenge the traditional geographies of art history, the Introduction states that collectively, the studies reveal that the cultural contradictions that are always present in art and art history research remain a powerful source of political social, and aesthetic transformation.
Joseph P. Ansell
- Published in print:
- 2004
- Published Online:
- February 2021
- ISBN:
- 9781874774945
- eISBN:
- 9781789623314
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781874774945.003.0019
- Subject:
- Religion, Judaism
This chapter asks what it means to be a political artist. It looks at Arthur Szyk's work within the context of ‘political’ art and twentieth-century art in general. The chapter asserts that Szyk was ...
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This chapter asks what it means to be a political artist. It looks at Arthur Szyk's work within the context of ‘political’ art and twentieth-century art in general. The chapter asserts that Szyk was at least a political artist throughout the years of the Second World War: he dedicated virtually all of his energies during this period towards fighting the Axis and bolstering the Allies. A ‘one-man war’, as he was sometimes characterized, must be a political being and, if he is an artist, then he must be, perforce, a political artist. Yet the chapter also phrases the question in a broader way — by asking what the artist should do with their talents, not just in times of crises, but throughout a professional career. In all likelihood Szyk would have responded that he was working ‘on behalf of humanity’. In this respect he was an anachronism among twentieth-century artists.Less
This chapter asks what it means to be a political artist. It looks at Arthur Szyk's work within the context of ‘political’ art and twentieth-century art in general. The chapter asserts that Szyk was at least a political artist throughout the years of the Second World War: he dedicated virtually all of his energies during this period towards fighting the Axis and bolstering the Allies. A ‘one-man war’, as he was sometimes characterized, must be a political being and, if he is an artist, then he must be, perforce, a political artist. Yet the chapter also phrases the question in a broader way — by asking what the artist should do with their talents, not just in times of crises, but throughout a professional career. In all likelihood Szyk would have responded that he was working ‘on behalf of humanity’. In this respect he was an anachronism among twentieth-century artists.
Alexander M. Schenker
- Published in print:
- 2003
- Published Online:
- October 2013
- ISBN:
- 9780300097122
- eISBN:
- 9780300128949
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300097122.003.0003
- Subject:
- History, Cultural History
This chapter begins with a discussion of the equestrian monument as political art and Peter the Great's idea to commission a monument to himself in his own lifetime. It then describes Catherine the ...
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This chapter begins with a discussion of the equestrian monument as political art and Peter the Great's idea to commission a monument to himself in his own lifetime. It then describes Catherine the Great's appointment of Etienne-Maurice Falconet to create a new monument to Peter the Great; Prince Dmitry Alekseevich Golitsyn, Russia's minister plenipotentiary in Paris, who helped in the selection of Falconet; and the work done by Falconet before his trip to Russia.Less
This chapter begins with a discussion of the equestrian monument as political art and Peter the Great's idea to commission a monument to himself in his own lifetime. It then describes Catherine the Great's appointment of Etienne-Maurice Falconet to create a new monument to Peter the Great; Prince Dmitry Alekseevich Golitsyn, Russia's minister plenipotentiary in Paris, who helped in the selection of Falconet; and the work done by Falconet before his trip to Russia.
Joseph P. Ansell
- Published in print:
- 2004
- Published Online:
- February 2021
- ISBN:
- 9781874774945
- eISBN:
- 9781789623314
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781874774945.003.0009
- Subject:
- Religion, Judaism
This chapter explores the nature of Arthur Szyk's works during the war years. It shows that his exhibitions during the Second World War were markedly different from his earlier ones: in the nature of ...
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This chapter explores the nature of Arthur Szyk's works during the war years. It shows that his exhibitions during the Second World War were markedly different from his earlier ones: in the nature of the works on view, in the frequency of the public displays, and, most importantly, in their intent. Unquestionably, most of the political works were executed more quickly than the manuscripts, book illustrations, or paintings, because of their topical nature and the urgency of the message. Also, the majority of Szyk's work prior to this time had been conceived in the rectilinear format traditional in western painting, with the action unfolding in an elaborated environment — a world complete and separated from the viewer. However, virtually all of the anti-fascist materials were created without backgrounds. The figures occupy an indefinite space, accompanied only by those objects absolutely necessary to convey the idea. This convention breaks down the division between image and audience, focuses the viewer's attention, and hastens the decoding of the message.Less
This chapter explores the nature of Arthur Szyk's works during the war years. It shows that his exhibitions during the Second World War were markedly different from his earlier ones: in the nature of the works on view, in the frequency of the public displays, and, most importantly, in their intent. Unquestionably, most of the political works were executed more quickly than the manuscripts, book illustrations, or paintings, because of their topical nature and the urgency of the message. Also, the majority of Szyk's work prior to this time had been conceived in the rectilinear format traditional in western painting, with the action unfolding in an elaborated environment — a world complete and separated from the viewer. However, virtually all of the anti-fascist materials were created without backgrounds. The figures occupy an indefinite space, accompanied only by those objects absolutely necessary to convey the idea. This convention breaks down the division between image and audience, focuses the viewer's attention, and hastens the decoding of the message.
Oscar Ho
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781501740916
- eISBN:
- 9781501740930
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501740916.003.0009
- Subject:
- Sociology, Politics, Social Movements and Social Change
This chapter presents a photo essay featuring protest art during the Umbrella Movement. One of the most outstanding achievements of the Occupy Movement was its artistic creation during the ...
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This chapter presents a photo essay featuring protest art during the Umbrella Movement. One of the most outstanding achievements of the Occupy Movement was its artistic creation during the occupation, inside and outside of the occupied zones. The movement triggered an unprecedented outburst of creative expressions, turning the occupied zones into giant theaters and galleries that provided new definitions of political/community art. Outside the occupied zones, there were also countless images, texts, and animations delivered via websites, e-mail, and Facebook. The adaptation of popular culture not only created commonly identified images and values, but it also generated a sense of humor with a touch of cynicism, which is typical of Hong Kong's pop culture. Starting at the turn of the century, when street protest became a common activity in Hong Kong, a new concept called “happy confrontation” was invented. This was a belief that political confrontation could be undertaken in a celebrative mode and that street demonstrations could take the form of a carnival. Of course, there were people who disagreed with such a concept, especially for the Umbrella Movement, which was full of hardship, conflicts, and brutal attacks. Nevertheless, throughout the occupation, such humor and cynicism could be easily found, especially at Mongkok.Less
This chapter presents a photo essay featuring protest art during the Umbrella Movement. One of the most outstanding achievements of the Occupy Movement was its artistic creation during the occupation, inside and outside of the occupied zones. The movement triggered an unprecedented outburst of creative expressions, turning the occupied zones into giant theaters and galleries that provided new definitions of political/community art. Outside the occupied zones, there were also countless images, texts, and animations delivered via websites, e-mail, and Facebook. The adaptation of popular culture not only created commonly identified images and values, but it also generated a sense of humor with a touch of cynicism, which is typical of Hong Kong's pop culture. Starting at the turn of the century, when street protest became a common activity in Hong Kong, a new concept called “happy confrontation” was invented. This was a belief that political confrontation could be undertaken in a celebrative mode and that street demonstrations could take the form of a carnival. Of course, there were people who disagreed with such a concept, especially for the Umbrella Movement, which was full of hardship, conflicts, and brutal attacks. Nevertheless, throughout the occupation, such humor and cynicism could be easily found, especially at Mongkok.
Elizabeth Cowie
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816645480
- eISBN:
- 9781452945866
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816645480.003.0007
- Subject:
- Art, Visual Culture
This chapter examines the role of time and memory in a documentary by addressing the question: what is gained and lost by spectators when watching a film? A documentary is considered aesthetics ...
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This chapter examines the role of time and memory in a documentary by addressing the question: what is gained and lost by spectators when watching a film? A documentary is considered aesthetics because of its temporal disjuncture presented between the real time of the past event and its presence again in the film that can be seen as spectral. The chapter also discusses the aspect of time as political art.Less
This chapter examines the role of time and memory in a documentary by addressing the question: what is gained and lost by spectators when watching a film? A documentary is considered aesthetics because of its temporal disjuncture presented between the real time of the past event and its presence again in the film that can be seen as spectral. The chapter also discusses the aspect of time as political art.
Andrew Raffo Dewar
- Published in print:
- 2018
- Published Online:
- January 2018
- ISBN:
- 9780190842741
- eISBN:
- 9780190842789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190842741.003.0015
- Subject:
- Music, Ethnomusicology, World Music
Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The ...
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Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The collective combined experimental music, visual art, poetic performance, and political action, carrying out activities in concert halls, plazas, and city buses. This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of its performance pieces: Plaza para una siesta de domingo (1970) and Música para colectivo línea 7 (1971), composed by Norberto Chavarri. These two performances embody the group’s approach to experimentalism: a commitment to bringing art and people into public spaces during a time of rigid governmental control of those spaces and bodies, creating domestically inspired aesthetic responses to the complex problems of late 1960s and early 1970s Buenos Aires.Less
Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The collective combined experimental music, visual art, poetic performance, and political action, carrying out activities in concert halls, plazas, and city buses. This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of its performance pieces: Plaza para una siesta de domingo (1970) and Música para colectivo línea 7 (1971), composed by Norberto Chavarri. These two performances embody the group’s approach to experimentalism: a commitment to bringing art and people into public spaces during a time of rigid governmental control of those spaces and bodies, creating domestically inspired aesthetic responses to the complex problems of late 1960s and early 1970s Buenos Aires.
Fiona Deans Halloran
- Published in print:
- 2013
- Published Online:
- July 2014
- ISBN:
- 9780807835876
- eISBN:
- 9781469600239
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807837351_halloran.8
- Subject:
- History, American History: 19th Century
Despite the success of his employment at Harper's Weekly, Thomas Nast continued to experiment with other art forms and other avenues of self-expression. This chapter discusses the political themes ...
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Despite the success of his employment at Harper's Weekly, Thomas Nast continued to experiment with other art forms and other avenues of self-expression. This chapter discusses the political themes that began to dominate Nast's work. The election of General U. S. Grant to the presidency was one of the political campaigns that helped push Nast even more deeply towards political art.Less
Despite the success of his employment at Harper's Weekly, Thomas Nast continued to experiment with other art forms and other avenues of self-expression. This chapter discusses the political themes that began to dominate Nast's work. The election of General U. S. Grant to the presidency was one of the political campaigns that helped push Nast even more deeply towards political art.
Ryan Ebright
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9780190605285
- eISBN:
- 9780190605315
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190605285.003.0005
- Subject:
- Music, History, Western
Steve Reich and Beryl Korot’s 1993 video opera, The Cave, addresses a potent political subject: the Israeli-Palestinian conflict. Yet shortly after its premiere, they publicly disavowed art’s ...
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Steve Reich and Beryl Korot’s 1993 video opera, The Cave, addresses a potent political subject: the Israeli-Palestinian conflict. Yet shortly after its premiere, they publicly disavowed art’s capacity to effect political or social change. This disavowal belies the explicitly political genesis of The Cave, the development of which throughout the 1980s coincided with rising Arab-Israeli tensions and the First Intifada. Early sketches, outlines, and descriptions of The Cave reveal that the pair initially viewed their quasi-opera as a step toward “reconciling the family of man.” By 1993, however, they instead adopted a seemingly apolitical stance, shying away from answering the fundamental question they had set out to answer: How can Jews and Muslims live together peacefully? This chapter argues that traces of this bid for peace remain in the opera’s music, text, and narrative structure, and that despite its purported neutrality, The Cave espouses an Americanized vision of Arab-Israeli reconciliation.Less
Steve Reich and Beryl Korot’s 1993 video opera, The Cave, addresses a potent political subject: the Israeli-Palestinian conflict. Yet shortly after its premiere, they publicly disavowed art’s capacity to effect political or social change. This disavowal belies the explicitly political genesis of The Cave, the development of which throughout the 1980s coincided with rising Arab-Israeli tensions and the First Intifada. Early sketches, outlines, and descriptions of The Cave reveal that the pair initially viewed their quasi-opera as a step toward “reconciling the family of man.” By 1993, however, they instead adopted a seemingly apolitical stance, shying away from answering the fundamental question they had set out to answer: How can Jews and Muslims live together peacefully? This chapter argues that traces of this bid for peace remain in the opera’s music, text, and narrative structure, and that despite its purported neutrality, The Cave espouses an Americanized vision of Arab-Israeli reconciliation.
Jessica Lawless
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816670826
- eISBN:
- 9781452947181
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816670826.003.0019
- Subject:
- Art, Art History
This chapter considers the question of how the radical use of the camera can translate into concrete political activism that effects social change. A way to do this is to stop confining the ...
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This chapter considers the question of how the radical use of the camera can translate into concrete political activism that effects social change. A way to do this is to stop confining the definition of political art to protest art and, conversely, to recognize the sublime in openly political artworks. It is also necessary to shift the concept of oblique to stealth. Oblique can be likened to passing, whereas stealth, if one is being conscious and strategic, can contribute to the dismantling of normative gender and sexuality in explosive ways. This is not just a rhetorical move. It is queering an approach to video making, queering how one looks through the camera, and queering how one sees what is captured. To be queer, one must become conscious of one’s location. Queering one’s approach to making video is not to become queer in one’s sexual practices but to become conscious of looking 45 degrees off center, askew and somewhat bent.Less
This chapter considers the question of how the radical use of the camera can translate into concrete political activism that effects social change. A way to do this is to stop confining the definition of political art to protest art and, conversely, to recognize the sublime in openly political artworks. It is also necessary to shift the concept of oblique to stealth. Oblique can be likened to passing, whereas stealth, if one is being conscious and strategic, can contribute to the dismantling of normative gender and sexuality in explosive ways. This is not just a rhetorical move. It is queering an approach to video making, queering how one looks through the camera, and queering how one sees what is captured. To be queer, one must become conscious of one’s location. Queering one’s approach to making video is not to become queer in one’s sexual practices but to become conscious of looking 45 degrees off center, askew and somewhat bent.