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Primary Documents
This text presents documents drawn from the artistic archives of Eastern and Central Europe during the second half of the 20th century.
The Experimental Group
"Matthew Jesse Jackson's writing and quality of mind put him in the forefront of the next wave in modern art studies." Thomas E. Crow, Institute of Fine Arts --
The Crisis in the Humanities
This volume will appeal to the reader interested in the so-called “long crisis in the humanities” and transdisciplinary approaches as a possible way out of this. It comprises a selection of 23 essays by both established and young scholars from the United States, Slovenia, Croatia, and Serbia, coming from a variety of disciplines, including aesthetics, anthropology, architecture, art, critical theory, ethnography, feminism, film studies, gender and queer theory, literary theory, Marxism, musicology, philosophy, and sociology, among others. What brings all these together here is the intention to advance transdisciplinarity, both in theory and in practice, in their scholarly work, as a poss...
Artificial Hells
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance t...
A Companion to Eastern European Cinemas
A Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures. Showcases critical historical work and up-to-date assessments of post-socialist film cultures Features consideration of lesser known areas of study, such as Albanian and Baltic cinemas, popular genre films, cross-national distribution and aesthetics, animation and documentary Places the cinemas of the region in a European and global context Resists the Cold War classification of Eastern European cinemas as “other” art cinemas by reconnecting them with the main circulation of film studies Includes discussion of such films as Taxidermia, El Perro Negro, 12:08 East of Bucharest Big Tõll, and Breakfast on the Grass and explores the work of directors including Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ̄u3awski, and Karel Vachek amongst many others
The Politics of American Actor Training
This book addresses the historical, social, colonial, and administrative contexts that determine today's U.S. actor training, as well as matters of identity politics, access, and marginalization as they emerge in classrooms and rehearsal halls. It considers persistent, questioning voices about our nation’s acting training as it stands, thereby contributing to the national dialogue the diverse perspectives and proposals needed to keep American actor training dynamic and germane, both within the U.S. and abroad. Prominent academics and artists view actor training through a political, cultural or ethical lens, tackling fraught topics about power as it plays out in acting curricula and classrooms. The essays in this volume offer a survey of trends in thinking on actor training and investigate the way American theatre expresses our national identity through the globalization of arts education policy and in the politics of our curriculum decisions.
Rethinking Postwar Europe
The book "Rethinking Postwar Europe" offers an in-depth insight into the largely unexplored topic of artistic practices in the 1940s and 1950s in Europe which until recently had been obscured by ideologies of the Cold War. Thanks to the authors' diverse methodological backgrounds, the volume presents – for the first time – a comprehensive multilayered narrative, focusing on the complexities and entanglements in the artistic field. Instead of assessing the postwar period in the traditional way as divided by the Iron Curtain, the contributions investigate processes of contact, interaction, dissemination, overlapping, and networking. Consequently, the analysis of a diversified European modernism in both its aesthetic and its socio-political dimension resonates with all the different case studies. In particular, the volume looks at how artists developed, designed and (re)negotiated identities and discourses, and sheds new light on the power of art – and creative powers in general – in a postwar setting of mutilations, losses, and devastations.
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.
On Art
During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
No Medium
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; ...
