From the early decades of the 20th century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. Some of the most influential names in the field were active proponents of Marxist thought: Frederick Antal, Max Raphael, Arnold Hauser, Meyer Schapiro, T. J. Clark, to name just a few. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics, which began to dominate the subject. This came at a time when Marxism in general was itself increasingly perceived as outdated after the collapse of communism. But in the wake of the recent global crisis there has been a resurgence in interest in Marx, especially among younger generations. Similarly, many progressive art historians are once again recognizing the relevance of his ideas to their own practice. This collection of essays – a festschrift in honour of leading Marxist art historian Andrew Hemingway – brings together thirty academics who are reshaping art history along Marxist lines. Coming from the the United States, Britain, Europe and Asia, they apply Marx’s theories to a wide range of arthistorical subjects. American art of the mid-nineteenth century; the rise of modernism in Weimar Germany; Mexican muralism; Situationism in 1960s Paris; and photography and contemporary art – these are just some of the areas considered through the lens of Marxism as it is understood today. And in the spirit of Marxism’s long tradition of self-critique, the contributors also examine the shifting agendas and limitations of Marxist art history itself, acutely aware of the specific historical and political circumstances in which it is produced. As such, this book not only provides the very latest in Marxist art-historical writing, it also acts an essential introduction to one of the most vibrant and relevant forms of art history today – one that looks to the past but is also marked by an urgent sense of the present.
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Charlotte y Peter Fiell son dos autoridades en historia, teoría y crítica del diseño y han escrito más de sesenta libros sobre la materia, muchos de los cuales se han convertido en éxitos de ventas. También han impartido conferencias y cursos como profesores invitados, han comisariado exposiciones y asesorado a fabricantes, museos, salas de subastas y grandes coleccionistas privados de todo el mundo. Los Fiell han escrito numerosos libros para TASCHEN, entre los que se incluyen 1000 Chairs, Diseño del siglo XX, El diseño industrial de la A a la Z, Scandinavian Design y Diseño del siglo XXI.
From the early decades of the 20th century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. Some of the most influential names in the field were active proponents of Marxist thought: Frederick Antal, Max Raphael, Arnold Hauser, Meyer Schapiro, T. J. Clark, to name just a few. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics, which began to dominate the subject. This came at a time when Marxism in general was itself increasingly perceived as outdated after the collapse of communism. But in the wake of the recent global crisis there has been a resurgence in interest in Marx, especially among younger generations. Similarly, many progressive art historians are once again recognizing the relevance of his ideas to their own practice. This collection of essays - a festschrift in honour of leading Marxist art historian Andrew Hemingway - brings together thirty academics who are reshaping art history along Marxist lines. Coming from the the United States, Britain, Europe and Asia, they apply Marx's theories to a wide range of arthistorical subjects. American art of the mid-nineteenth century; the rise of modernism in Weimar Germany; Mexican muralism; Situationism in 1960s Paris; and photography and contemporary art - these are just some of the areas considered through the lens of Marxism as it is understood today. And in the spirit of Marxism's long tradition of self-critique, the contributors also examine the shifting agendas and limitations of Marxist art history itself, acutely aware of the specific historical and political circumstances in which it is produced. As such, this book not only provides the very latest in Marxist art-historical writing, it also acts an essential introduction to one of the most vibrant and relevant forms of art history today - one that looks to the past but is also marked by an urgent sense of the present.
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Librería: HPB-Red, Dallas, TX, Estados Unidos de America
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Librería: Midtown Scholar Bookstore, Harrisburg, PA, Estados Unidos de America
Paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized. Nº de ref. del artículo: M190897012XZ3
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Librería: WeBuyBooks, Rossendale, LANCS, Reino Unido
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Librería: LEFT COAST BOOKS, Santa Maria, CA, Estados Unidos de America
Paperback. Condición: Fine. 1st. 520 pages, illustrations; 25 cm. Published in association with the Department of History of Art, University College London. Tight, clean copy. First paperback edition. *** "From the early decades of the 20th century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. This collection of essays a festschrift in honour of leading Marxist art historian Andrew Hemingway brings together thirty academics who are reshaping art history along Marxist lines." - Publisher. *** CONTENTS: Introduction. Towards a history of the Marxist history of art, by Warren Carter; MARXIST THEORY IN PRACTICE. Art history's furies, by John Roberts; The political logic of radical art history in California 1974-85: a memoir, by Stephen F. Eisenman; The dialectical legacies of radical art history: Meyer Shapiro and German aesthetic debates in the 1930s and 1940s, by Warren Carter; Approaching Marx's aesthetic: Or, what is sensuous practice?, by Stewart Martin; A communion of just men made perfect: Walter Pater, romantic anti-capitalism and the Paris Commune, by Matthew Beaumont; What remains of Adorno's critique of culture?, by Norbert Schneider; Aby Warburg and the spirit of capitalism, by Frederic J. Schwartz; LANDSCAPE, CLASS AND IDEOLOGY. A note on aestheticizing tendencies in American landscape painting 1840-80, by Alan Wallach; Meaning, change and ambiguity in Canadian landscape imagery: Homer Watson and The Pioneer mill, by Brian Foss; One spectator is a better witness than ten listeners: Roger North, making the past public, by Charles Ford; An ever-recurring controversy: John Thompson, William James Stillman and the Bootblacks, by Steve Edwards; Calaveras and commodity fetishism: the unhallowed supernatural in the work of Jose Guadalupe Posada, by Tom Gretton; Reading Ahab: Rockwell Kent, Herman Melville and C.L.R. James, by Angela Miller; William Morris, ornament and the coordinates of the body, by Caroline Arscott; MARXISM AND THE SHAPING OF MODERNISM. Red Hashar: Louis Lozowick's lithographs of Soviet Tajikstan, by Barnaby Haran; Lu Marten and the question of Marxist aesthetic in 1920s German, by Martin I. Gaughan; Experiment and propaganda: art in the monthly New masses, by Rachel Sanders; Stuart Davis and Left modernism on the New York waterfront in the 1920s, by Jody Patterson; Action, revolution and painting: resumed, by Fred Orton; Erasure and Jewishness in Otto Dix's Portraint of the lawyer Hugo Simons, by James A. van Dyke; The Nazi Party's strategic use of the Bauhaus: Marxist art history and the political conditions of artistic production, by Paul B. Jaskot; MARXISM IN A NEW WORLD ORDER. Realism and materialism in postwar European art, by Alex Potts; The situation of women, by Frances Tracey; Scars on the landscape: Doris Salcedo between two worlds, by Chin-tao Wu; Realism, totality and the militant Citoyen: or, What does Lukacs have to do with contemporary art?, by Gail Day; Deartification this side of art: ideology critique, autonomy and reproduction, by Kerstin Stakemeier. Size: 8vo. Collectible. Nº de ref. del artículo: 099313
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Librería: Cotswolds Rare Books, OXFORDSHIRE, Reino Unido
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Librería: Left On The Shelf (PBFA), Kendal, Reino Unido
Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st Edition. 520pp. As new. Nº de ref. del artículo: 107710
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