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The European Avant-Garde
The European Avant-Garde: Text and Image is an interdisciplinary collection of thirteen essays relating to the study of European Avant-Garde movements between 1900 and 1940. The essays cover both literary and artistic subjects, across geographical, linguistic and disciplinary boundaries. Various aspects of the English, Irish, German, French, Italian, Spanish, and Polish avant-gardes are explored, examining both diverse literary genres such as prose, poetry and drama, and specific avant-garde movements such as Futurism and Surrealism. The volume includes a lengthy introductory essay by Prof. John J. White, Emeritus Professor of German and Comparative Literature at King’s College London. Avant-garde studies can be enhanced and developed through dialogue with other disciplines, such as translation, gender, exile and comparative studies. Thus, the volume is divided into four sections: Representations of the Body; Translating the Avant-Garde, Identity and Exile; and Comparative Perspectives and the Legacy of the Avant-Garde.
Artist Complex
With the Jungian term of the complex the present volume inquires about the making of the artistic persona in twentieth-century photography. The articles examine photographic (self-)portraits, the dynamics between self-statements of artists and photographers, the interrelations of photography, of painting and of performance art and investigate their origins in the history of ideas. The volume traces a portrait of photography as a metascience; as preparatory work, a source of inspiration and an alternate medium in which artists could explore different subjects. With essays by Ulrike Blumenthal, Till Cremer, Victoria Fleury, Jadwiga Kamola, Weronika Kobylińska-Bunsch, Nadja Köffler, Constance Krüger, Wilma Scheschonk, Gerd Zillner.
Fabric of Memory
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The Witkiewicz Reader
Forgotten during the Stalin years, Stanislaw Witkiewicz (1885-1939) was rediscovered in his native Poland only after the liberalization of 1956, when his works came to play a major role in freeing the arts from socialist realism. This collection, the first anthology in English, presents Witkiewicz in the full range of his creative and intellectual activities. The Witkiewicz Reader includes excerpts from three novels; four complete plays; letters to Malinowski; and selections from aesthetic, social, and philosophical essays detailing Witkiewicz's theory of Pure Form, his metaphysical system, and his apocalyptic view of the fate of civilization.
The New Psychedelic Revolution
A bold exploration of modern psychedelic culture, its history, and future • Examines 3 modern psy-culture architects: chemist Alexander “Sasha” Shulgin, mycologist-philosopher Terence McKenna, and visionary artist Alex Grey • Investigates the use of microdosing in extreme sports, the psy-trance festival experience, and the relationship between the ego, entheogens, and toxicity • Presents a “History of Visionary Art,” from its roots in prehistory, to Ernst Fuchs and the Vienna School of the Fantastic, to contemporary psychedelic art After the dismantling of a major acid laboratory in 2001 dramatically reduced the world supply of LSD, the psychedelic revolution of the 1960s appea...
National Union Catalog
Includes entries for maps and atlases.
Light and Obscurity in Symbolism
The idea of light and darkness is one of the central ideas of the Symbolist movement, since this is a movement of contrasts. It encompasses the major themes of Symbolism, such as good and evil, beauty and ugliness, the visible and the invisible, and the divine and the earthly. This volume brings together a range of studies in order to understand the notion of light and darkness and a variety of its Symbolist interpretations. It also stresses the interdisciplinary nature of the concepts of light and darkness in Symbolism, as well as the cohabitation and symbiosis of both, which are together or separately at the core of this movement.
Between Point Zero and the Iron Curtain
This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca. The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
Universal – International – Global
This collection of articles explores a possible alternative beginning of Global Art History and World Art Studies, two methodologies that set a worldwide focus in the study of art around the 2000s. Teaching back to earlier efforts to conceive of the international community in a less Eurocentric way, the volume proposes a tentative link between socialist internationalism as a political and cultural diplomatic principle in the Soviet Block and some new approaches to art and cultural historiography introduced there. In the "Second World", universal art history or Weltkunstgeschichte were endorsed as frameworks for the teaching and writing of art history. Authors in this book interrogate whether "world art history" as practiced by socialist scholars had aspirations and achievements comparable to today's Global Art History and World Art Studies. Or was this knowledge production in an internationalist paradigm a mere foil for communist rhetoric, behind which severed cultural relations to the Western world could also be recommenced?
Visual Cultures of Death in Central Europe
In Visual Cultures of Death in Central Europe, Aleksandra Koutny-Jones explores the emergence of a remarkable cultural preoccupation with death in Poland-Lithuania (1569-1795). Examining why such interests resonated so strongly in the Baroque art of this Commonwealth, she argues that the printing revolution, the impact of the Counter-Reformation, and multiple afflictions suffered by Poland-Lithuania all contributed to a deep cultural concern with mortality. Introducing readers to a range of art, architecture and material culture, this study considers various visual evocations of death including 'Dance of Death' imagery, funerary decorations, coffin portraiture, tomb chapels and religious landscapes. These, Koutny-Jones argues, engaged with wider European cultures of contemplation and commemoration, while also being critically adapted to the specific context of Poland-Lithuania.
