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Politics and Paintings at the Venice Biennale 1948-64
Although cultural exchanges were named within the Council of Europe in the mid- 1950's as being second only in importance to the military as a tool for ensuring a stable and integrated Western Europe in the aftermath of the Second World War, European-led initiatives have generally been overlooked in the historiography of art of the immediate post-war period. Popularly remembered as the era of the United States' cultural "triumph", American Abstract Expressionism in particular is commonly identified as the cultural "weapon" by which that nation conquered Western European culture.
The Philosophy and Politics of Abstract Expressionism, 1940-1960
Tracing the relationship between Abstract Expressionist artists and contemporary intellectuals, particularly the French existentialists, Nancy Jachec here offers a new interpretation of the success of America's first internationally recognized avant-garde art form. She argues that Abstract Expressionism was promoted by the United States government because of its radical character, which was considered to appeal to a Western European populace perceived by the State Department as inclined toward Socialism.
Europe's Intellectuals and the Cold War
In 1950, nearly 300 of Europe's leading artists, philosophers and writers formed an international society intended to end the Cold War. The European Society of Culture was composed of many of Western Europe's best-known intellectuals, including Theodor Adorno, Julien Benda, Albert Camus, Benedetto Croce, Andre Gide, J. B. Haldane, Karl Jaspers, Carl Jung, Thomas Mann, Henri Matisse, Francois Mauriac, Maurice Merleau-Ponty, Jean-Paul Sartre, Giuseppe Ungaretti and Albert Schweitzer, among many others; over the next twenty years it would also include many luminaries from the East, such as Bertolt Brecht, Ernst Bloch, Ilya Ehrenburg and Georg Lukacs. Pioneering the earliest political discussion...
Science, (Anti-)Communism and Diplomacy
This book explores how Pugwash scientists established a role in conflict moderation, what held this project together and how state actors in East and West perceived their efforts, complicating existing narratives about “Pugwash” and challenging notions about the naivety of scientists.
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.
Reinventing Jewish Art in the Age of Multiple Modernities
Can studying an artist’s migration provide the key to unlocking a “global” history of art? The artistic biography of Michail Grobman and his group, which was active in Israel in the 1970s, open up this vital new perspective and analytical mode.
Charles Olson and American Modernism
This volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The develop...
Jackson Pollock
Jackson Pollock (1912-1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work. Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes-all of which are gathered together in this volume-the themes are remarkably similar. After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it "in the round", Pollock routinely referred to his interest in the uncon...
To See Paris and Die
After Stalin died a torrent of Western novels, films, and paintings invaded Soviet streets and homes. Soviet citizens invested these imports with political and personal significance, transforming them into intimate possessions. Eleonory Gilburd reveals how Western culture defined the last three decades of the Soviet Union, its death, and afterlife.
Res
This double volume includes: The value of forgery, Jonathan Hay; Affective operations of art and literature, Ernst van Alphen; Betty’s Turn, Stephen Melville; Richard Serra in Germany, Magdalena Nieslony; Beheadings and massacres, Federico Navarrete; Pliny the Elder and the identity of Roman art, Francesco de Angelis; Between nature and artifice, Francesca Dell’Acqua; Narrative cartographies, Gerald Guest; The artist and the icon, Alexander Nagel; Preliminary thoughts on Piranesi and Vico, Erika Naginski; Portable ruins, Alina Payne; Istanbul: The palimpsest city in search of its archi-text, Nebahat Avcioglu; The iconicity of Islamic calligraphy in Turkey, Irvin Cemil Schick; The Buddha’s house, Kazi Khalid Ashraf; A flash of recognition into how not to be governed, Natasha Eaton; Hasegawa’s fairy tales, Christine Guth; The paradox of the ethnographic-superaltern, Anna Brzyski, and contributions to “Lectures, Documents and Discussions” by Karen Kurczyncki, Mary Dumett, Emmanuel Alloa, Francesco Pellizzi, and Boris Groys.
