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Pollock Matters
Legendary abstract expressionist painter Jackson Pollock (1912–56) is most famous for the frenetic, highly textured works created through his trademark “drip” technique in which he poured paint from its can directly onto the canvas. Pollock Matters explores, for the first time, the personal and artistic interrelationship between the notorious artist and noted Swiss-born photographer and graphic designer Herbert Matter. Published to coincide with an exhibition at Boston College’s McMullen Museum of Art, Pollock Matters traces a close friendship that spanned almost two decades, beginning in 1936 when the men’s future wives, painters Lee Krasner and Mercedes Carles, met after being se...
Barnett Newman and Heideggerian Philosophy
This book investigates the writings and works of the American Abstract Expressionist artist Barnett Newman in light of ideas articulated by one of Germany's most important and influential philosophers: Martin Heidegger. At the intersection of art history and philosophy, an int...
Re/casting Kokoschka
Art Nouveau, it was claimed, was decorative and superficial, while Expressionism, conversely, revealed the "truth" of human emotional states. Klimt's work was decried as deceptive and decadent, while Kokoschka's was touted as perceptive and profound.".
Jackson Pollock, "psychoanalytic" Drawings
Perhaps no aspect of Jackson Pollock's oeuvre—one of the most important American artists of the twentieth century—has been more misunderstood than the drawings Pollock created during Jungian psychoanalysis sessions from 1939–40. Presented to his psychotherapist, where they remained in private files for almost three decades until their publication in 1970, these drawings have been shrouded in both personal and art-historical controversy—from a lawsuit filed by Pollock's widow, Lee Krasner, to wide-ranging justifications of them as Jungian iconography or as "proof" of Pollock's supposed mental disorder. Published in conjunction with an exhibition touring the United States, this book dr...
Egon Schiele and the Art of Popular Illustration
Presenting a radically different picture of Egon Schiele’s work, this study documents (in one-to-one comparisons) the extent of the artist’s visual borrowings from the Viennese humoristic journal, Die Muskete. Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele’s artistic production frequently compared to caricature (and derided for being “grotesque”), but Expressionism and caricature are natural allies. One may belong to “high” art and the other to “popular” culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological “truths” to emerge. The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.
Weimar Publics/Weimar Subjects
In spite of having been short-lived, “Weimar” has never lost its fascination. Until recently the Weimar Republic’s place in German history was primarily defined by its catastrophic beginning and end - Germany’s defeat in 1918 and the Nazi seizure of power in 1933; its history seen mainly in terms of politics and as an arena of flawed decisions and failed compromises. However, a flourishing of interdisciplinary scholarship on Weimar political culture is uncovering arenas of conflict and change that had not been studied closely before, such as gender, body politics, masculinity, citizenship, empire and borderlands, visual culture, popular culture and consumption. This collection offers new perspectives from leading scholars in the disciplines of history, art history, film studies, and German studies on the vibrant political culture of Germany in the 1920s. From the traumatic ruptures of defeat, revolution, and collapse of the Kaiser’s state, the visionaries of Weimar went on to invent a republic, calling forth new citizens and cultural innovations that shaped the republic far beyond the realms of parliaments and political parties.
How Ancient Europeans Saw the World
A revolutionary approach to how we view Europe's prehistoric culture The peoples who inhabited Europe during the two millennia before the Roman conquests had established urban centers, large-scale production of goods such as pottery and iron tools, a money economy, and elaborate rituals and ceremonies. Yet as Peter Wells argues here, the visual world of these late prehistoric communities was profoundly different from those of ancient Rome's literate civilization and today's industrialized societies. Drawing on startling new research in neuroscience and cognitive psychology, Wells reconstructs how the peoples of pre-Roman Europe saw the world and their place in it. He sheds new light on how t...
The Afro-Descendant Woman in Latin American Diasporic Visual Art
By studying multiple cultural expressions of Blackness throughout different regions of the Americas, the chapters of this book consider the relationship that social and historical processes such as sovereignty and colonialism have on cultural productions made by and about Black Latin American women. Rosita Scerbo analyzes a range of power dynamics as represented in different artistic media of the Afro-Latin/x American community, including photography, muralism, performance, paintings, and digital art. The book acknowledges that racial and gender equity cannot exist without Intersectionality and that is why the entirety of the chapters focus on cultural and visual productions exclusively crea...
Animality and Humanity in French Late Modern Representations of Black Femininity
This volume examines the evolution of the depictions of black femininity in French visual culture as a prism through which to understand the Global North’s destructive relationship with the natural world. Drawing on a broad spectrum of archives extending back to the late 18th century – paintings, fashion plates, prints, photographs, and films – this study traces the intricate ways a patriarchal imperialism and a global capitalism have paired black women with the realm of nature to justify the exploitation both of people and of ecosystems. These dehumanizing and speciesist strategies of subjugation have perpetuated interlocking patterns of social injustice and environmental depletion that constitute the most salient challenges facing humankind today. Through a novel approach that merges visual studies, critical race theory, and animal studies, this interdisciplinary investigation historicizes the evolution of the boundaries between human and non-human animals during the modern period. The book will be of interest to scholars working in art history, visual studies, critical race theory, colonial and post-colonial studies, animal studies, and French studies.
