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Pop L.A.
In this original and engaging book, Cécile Whiting examines what Pop looked like when it left the highbrow cloisters of Manhattan's art galleries and ventured westward to the sprawling suburbs of Los Angeles.
A Taste for Pop
When Pop-art paintings depicted Campbell soup cans or comic-book scenes of teen romance, did they stoop to the level of their mundane sources, or did they instead transmogrify the detritus of consumer culture into high art? In this study, Cecile Whiting declares the issues fundamentally irresolvable and instead takes the question itself, along with the varied answers it has generated, as the object of her analysis. Whiting presents case studies that focus on works by four artists - Tom Wesselmann, Roy Lichtenstein, Andy Warhol, and Marisol Escobar - who are closely associated with the Pop-art movement. Throughout her engaging analyses, Whiting unravels the gendered overtones of their cultural manoeuverings, noting how the connotations of masculinity as attached to the seriousness of high art, and the presumed frivolity and caprice of a feminine world of consumption repositioned cultural frontiers and reformulated the relation between sexes.
Antifascism in American Art
Whiting examines the various manifestations of antifacist art, showing how each negotiated the competing demands of artistic conventions, aesthetic and political theories, and historical developments.
A Taste for Pop
When Pop Art paintings depicted Campbell soup cans or comic-book scenes of teen romance, did they stoop to the level of their mundane sources, or did they instead transform the detritus of consumer culture into high art? In this study, Ccile Whiting declares this issue fundamentally irresolvable and instead takes the question itself, along with the varied answers it has generated, as the object of her analysis. Whiting presents case studies that focus on works by four artists - Tom Wesselmann, Roy Lichtenstein, Andy Warhol, and Marisol Escobar - who are closely associated with the Pop Art movement. Throughout her engaging analyses, Whiting unravels the gendered overtones of their cultural manoeuvrings, noting how the connotations of masculinity as attached to the seriousness of high art, and the presumed frivolity and caprice of a feminine world of consumption repositioned cultural frontiers and reformulated the relation between sexes.
Our Distance from God
In this encounter between reflections on Christian theology and the history of art and music, James D. Herbert considers how specific works of art establish a relation between the divine and the earthbound audiences for whom the art was created. He looks at five case studies over four centuries: the architecture and artworks that glorified Louis XIV at Versailles, the interaction of libretto and music in Richard Wagner's Ring of the Nibelung, Claude Monet's enormous paintings of water lilies mounted at the Orangerie of Paris in 1927, the inaugural performance in 1962 of Benjamin Britten's War Requiem at the new Anglican cathedral in Coventry, and Robert Wilson's recent installation based on the Passion, 14 Stations.
The Artist as Economist
This groundbreaking examination of the intersection between artistic practice and capitalism in the 1960s explores art's capacity to reflect on and reimagine economic systems and our place within them.
Pop L.A.
In this original and engaging book, Cécile Whiting examines what Pop looked like when it left the highbrow cloisters of Manhattan's art galleries and ventured westward to the sprawling suburbs of Los Angeles.
Looking Askance
Michael Leja offers a new, specifically visual, model for understanding American art in the decades before and after 1900.
A Taste for Pop
A study of four artists closely associated with the Pop Art movement.
The Gendered Object
EU security governance assesses the effectiveness of the EU as a security actor. The book has two distinct features. Firstly, it is the first systematic study of the different economic, political and military instruments employed by the EU in the performance of four different security functions. The book demonstrates that the EU has emerged as an important security actor, not only in the non-traditional areas of security, but increasingly as an entity with force projection capabilities. Secondly, the book represents an important step towards redressing conceptual gaps in the study of security governance, particularly as it pertains to the European Union. The book links the challenges of governing Europe's security to the changing nature of the state, the evolutionary expansion of the security agenda, and the growing obsolescence of the traditional forms and concepts of security cooperation.
