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Plural and Multiple Geographies of Modern and Contemporary Art in East-Central Europe
This edited volume proposes a theoretical reflection on the different artistic geographies of East-Central Europe (ECE) from an interdisciplinary perspective found at the intersection of art history, art and politics, and critical geography. Contributors argue that this multiplicity is a defining feature of the region. At the same time, chapters employ the concept of “plural geographies” and call for an equal geography, based on solidarity and an equal distribution of capital, which could allow plural geographies to exist and be described. The “multiple geographies” of ECE consider the perspective of local conditions and emphasize how this region was part of successive empires with an important ethnic diversity and changing borders, giving it historical layers and multicultural characteristics. The book will be of interest to scholars working in art history, political studies, cultural studies, and geography.
The Handbook of COURAGE
The COURAGE Handbook ushers its reader into the world of the compellingly rich heritage of cultural opposition in Eastern Europe. It is intended primarily to further a subtle understanding of the complex and multifaceted nature of cultural opposition and its legacy from the perspective of the various collections held in public institutions or by private individuals across the region. Through its focus on material heritage, the handbook provides new perspectives on the history of dissent and cultural non-conformism in the former socialist countries of Central, Eastern, and Southeastern Europe. The volume is comprised of contributions by over 60 authors from a range of different academic and n...
Shared Images
Who organized numerous exhibitions of American art in the Cold War Soviet Union – and why? Did Americans truly want to “subvert” the Soviet regime with abstraction, and were the Soviets really “afraid” of non-figurative art? And, most noteworthy, can we adequately assess the role of art as a “weapon” of the Cold War? The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into ...
The Ethics of the Climate Crisis
The planet is in crisis. Time is short, but it is still possible to mitigate greenhouse gas emissions before disaster overtakes us all. Renowned philosopher Robin Attfield explains the moral reasons for urgent action based on current harms, threats to future generations, and to the species with which we share the planet. In compelling and student-friendly prose, he explores the science of climate change, biodiversity loss and air pollution, climate injustices, political implications of the crisis, and possible responses. Among other things, he argues that measures to introduce climate justice should be paid for by countries able to pay, and by the big polluters in particular. The recently agreed Loss and Damage fund can play a central part in climate funding. Related political measures, such as the introduction of Ecocide as an international crime alongside war crimes, also give cause for hope. Attfield’s passionately argued twentieth book, The Ethics of the Climate Crisis, is crucial reading for our times.
Rethinking the Cinematic Cold War
Historical consensus increasingly views the Cold War period as a multifaceted conflict which extended beyond the borders of the USSR and USA, encompassing both cultural and diplomatic history. Debate remains, however, about how best to balance the Cold War as a cultural event with the existence of Cold War culture. Rethinking the Cinematic Cold War provides a fresh reassessment of this period, highlighting how the convergence of geopolitical interests, cultural production and exchange, and technological and media history shaped a unique epoch. Consequently, this volume seeks to diagnose the role cinema played in expanding the ideological outlook of artists, audiences, and policymakers.
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?
Populism in Central and Eastern Europe
The rise of illiberal democracies across Central and Eastern Europe represents an ongoing challenge to the democratic and liberal principles of post-Enlightenment societies. However, considerable debate remains about how to disentangle the complex factors that have contributed to this phenomenon and gain a clearer understanding of the issues shaping the political landscape. In this incisive analysis of the populist phenomenon, Populism in Central and Eastern Europe re-examines the roots of the current political situation, tracing the historical evolution of Central and Eastern European populism. From late nineteenth-century Imperial Russia to Viktor Orbán’s Hungary and Jaroslaw Kaczyński’s Poland, this book offers an innovative approach to addressing these enduring political issues.
Polish Modernism and Jewish Identity
"This book uncovers the changing artistic landscape of Poland between the 1920s and 1950s, through the work of Jewish-Polish painter and Holocaust survivor, Henryk Streng (Marek Wlodarski) (1903-1960). Extraordinary for his aesthetic innovation during the two major traumas of 20th-century European history, the Holocaust and Stalinism, Streng's work disrupted the established notions of 20th-century Polish art, while making the case for an internationalized history of European Modernism - as demonstrated by this book for the first time"--
A World More Equal
The post–World War II period is typically seen as a time of stark division, an epochal global conflict between the United States and the Soviet Union. But beneath the surface, the postwar era witnessed a striking degree of international cooperation. The United Nations and its agencies, as well as regional organizations, international nongovernmental organizations, and private foundations brought together actors from conflicting worlds, fostering international collaboration across the geopolitical and ideological divisions of the Cold War. Diving into the archives of these organizations and associations, Sandrine Kott provides a new account of the Cold War that foregrounds the rise of inter...
Art beyond Borders
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.
