Le fascisme d'avant-garde : la mobilisation du mythe, de l'art et de la culture en France (1909-1939
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Comment expliquer le croisement, au cours du XXe siècle, de l'idéologie et des théories sur la violence et la créativité ? Mark Antliff examine la rencontre entre esthétique et violence en étudiant le rôle peu connu mais essentiel joué par les théories sur les arts visuels et la créativité dans le développement du fascisme en France. Traduit de l'anglais (États-Unis) par(...)
Le fascisme d'avant-garde : la mobilisation du mythe, de l'art et de la culture en France (1909-1939
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$56.95
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Comment expliquer le croisement, au cours du XXe siècle, de l'idéologie et des théories sur la violence et la créativité ? Mark Antliff examine la rencontre entre esthétique et violence en étudiant le rôle peu connu mais essentiel joué par les théories sur les arts visuels et la créativité dans le développement du fascisme en France. Traduit de l'anglais (États-Unis) par Françoise Jaouën (titre original : "Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909–1939," Duke University Press, 2007). Publié avec la collaboration de Laurence Bertrand Dorléac – Centre d'Histoire de Sciences Po – et le concours de la Fondation de France.
Théorie de l’art
Visions and ecstasies
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While H.D. is best known for her elemental poetry, which draws heavily on the imagery of natural and ancient worlds, her critical writings remain a largely underexplored and unpublished part of her oeuvre. Crucial to understanding both the formative contexts surrounding her departure from Imagism following the First World War and her own remarkable creative vision, "Notes(...)
Visions and ecstasies
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While H.D. is best known for her elemental poetry, which draws heavily on the imagery of natural and ancient worlds, her critical writings remain a largely underexplored and unpublished part of her oeuvre. Crucial to understanding both the formative contexts surrounding her departure from Imagism following the First World War and her own remarkable creative vision, "Notes on Thought and Vision," written in 1918, is one of the central works in this collection. H.D. guides her reader to the untamed shores of the Scilly Isles, where we hear of powerful, transformative experiences and of her intense relationship with the paintings of Leonardo da Vinci. The accompanying essays, many published here for the first time, help colour H.D.’s astute critical engagement with the past, from the city of Athens and the poetry of ancient Greece. Like Letters to a Young Painter (2017), also published in the ekphrasis series, this collection is essential reading for anyone interested in the creative process.
Théorie de l’art
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The codpiece was fashioned in the Middle Ages to close a revealing gap between two separate pieces of men’s tights. By the sixteenth century, it had become an upscale must-have accessory. This lighthearted, illustrated examination of its history pulls in writers from Rabelais to Shakespeare and figures from Henry VIII to Alice Cooper. Glover’s witty and entertaining prose(...)
Thrust: A spasmodic pictorial history of the codpiece in art
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The codpiece was fashioned in the Middle Ages to close a revealing gap between two separate pieces of men’s tights. By the sixteenth century, it had become an upscale must-have accessory. This lighthearted, illustrated examination of its history pulls in writers from Rabelais to Shakespeare and figures from Henry VIII to Alice Cooper. Glover’s witty and entertaining prose reveals how male vanity turned a piece of cloth into a bulging and absurd representation of masculinity itself. The codpiece, painted again and again by masters such as Titian, Holbein, Giorgione, and Bruegel, became a symbol of royalty, debauchery, virility, and religious seriousness—all in one. The first history of its kind, this book is a must-read for art historians, anthropologists, fashion aficionados, and readers looking for a good, long laugh.
Théorie de l’art
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The undead of contemporary painting, avant-garde populism, photography courting stupidity, fraught networking, synthetic atmospheres, displaced abstractions, and the mediation of pain: these are among the subjects treated in this collection of essays by art historian and critic Ina Blom. Drawing on Blom's familiarity with the contemporary art scene as well as the archives(...)
Houses to die in and other essays on art
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The undead of contemporary painting, avant-garde populism, photography courting stupidity, fraught networking, synthetic atmospheres, displaced abstractions, and the mediation of pain: these are among the subjects treated in this collection of essays by art historian and critic Ina Blom. Drawing on Blom's familiarity with the contemporary art scene as well as the archives of twentieth-century avant-garde art, these texts share a pull towards artistic projects that are not redemptive or exemplary but that rather convey a sense of—often unheroic—trouble. Leaning into ambivalence as a methodology of criticism, Blom takes a particular interest in the detours, doubts, and difficulties that run alongside avant-garde art’s more constructively hopeful desires for transformative innovation and change.
Théorie de l’art
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Going beyond tensions between individuals and institutions, this volume examines avenues for engaged pedagogies, collective learning, and artistic ecologies that can engender new institutionalities. If learning for life is emancipation—understood as a matter not just of power but of freedom—the essential question that emerges is: What knowledge makes us free, and how can(...)
Artistic ecologies: new compasses and tools
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Going beyond tensions between individuals and institutions, this volume examines avenues for engaged pedagogies, collective learning, and artistic ecologies that can engender new institutionalities. If learning for life is emancipation—understood as a matter not just of power but of freedom—the essential question that emerges is: What knowledge makes us free, and how can institutions help produce it? In search of an answer, this publication’s textual and visual contributions explore sites and practices through which new artistic ecosystems can emerge.
Théorie de l’art
A Something Else reader
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This is a previously-unpublished anthology edited by Dick Higgins in 1972 to celebrate Something Else Press, the publishing house he founded in 1963 to showcase Fluxus and other experimental artistic and literary forms. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new(...)
A Something Else reader
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This is a previously-unpublished anthology edited by Dick Higgins in 1972 to celebrate Something Else Press, the publishing house he founded in 1963 to showcase Fluxus and other experimental artistic and literary forms. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new works that challenged conventional notions of both contemporary art and books. While other presses created extraordinary publications, none were able to achieve the breadth of titles and artists like Higgins, who successfully ran Something Else Press until 1974 in a manner that resembled a more traditional paperback publisher. The publication features a selection of writings from Claes Oldenburg, John Cage, Jackson Mac Low, Gertrude Stein, Bern Porter, Wolf Vostell, among others. An annotated checklist assembled by Hugh Fox and Higgins’s unpublished introduction are also included.
Théorie de l’art
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Looking beyond East/West and North/South divisions, the ''Art and solidarity reader'' asks: what were and are the alternative circuits of survival and solidarity among artists and activists from nonaligned nations and politically challenging contexts? What do these trajectories of solidarity lead to, in and outside of art worlds? How can traveling exhibitions,(...)
Art and solidarity reader: radical actions, politics and friendships
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Looking beyond East/West and North/South divisions, the ''Art and solidarity reader'' asks: what were and are the alternative circuits of survival and solidarity among artists and activists from nonaligned nations and politically challenging contexts? What do these trajectories of solidarity lead to, in and outside of art worlds? How can traveling exhibitions, museological displays, the idea of ''the museum in exile,'' artistic actions and performative groupings become tools for political struggle against oppression and social fragmentation? The ''Art and solidarity reader'' gathers microhistories from the 1970s to today, rethinking our collective responses to the multiple crises related to migration, colonialism, rising radicalization, religious conflicts, class divisions, new technology, heteronormativity and environmental urgencies.
Théorie de l’art
If these apples should fall
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For many artists and writers, the art of Paul Cézanne represents the key to modernity. His paintings were a touchstone for writers such as Samuel Beckett as much as for artists such as Henri Matisse. Rainer Maria Rilke revered him deeply, as did Pablo Picasso. They thought if they lost touch with his sense of life, they lost an essential element of their own(...)
If these apples should fall
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For many artists and writers, the art of Paul Cézanne represents the key to modernity. His paintings were a touchstone for writers such as Samuel Beckett as much as for artists such as Henri Matisse. Rainer Maria Rilke revered him deeply, as did Pablo Picasso. They thought if they lost touch with his sense of life, they lost an essential element of their own self-understanding. In ''If these apples should fall,'' celebrated art historian T. J. Clark looks back on Cézanne from our current moment when such judgments need justifying. What was it, he asks, that held Cézanne’s viewers spellbound? At the heart of Cézanne’s work lies a sense of disquiet: a hopelessness haunting the vividness, an anxiety beneath the splendid colors. Clark addresses this strangeness head-on, examining the art of Camille Pissarro, Matisse, and others in relation to Cézanne’s. Above all, he speaks to the uncanniness and beauty of Cézanne’s achievement.
Théorie de l’art
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In this publication, Caterina Albano examines the cultural significance of breath and air to a wide array of forces in our midst, including economy, politics, infection, and ecological violence. Through a consideration of recent art practices and projects, including the dance project Breath Catalogue, which makes visible the breathing patterns of dancers, and Forensic(...)
Out of breath: Vulnerability of air in contemporary art
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In this publication, Caterina Albano examines the cultural significance of breath and air to a wide array of forces in our midst, including economy, politics, infection, and ecological violence. Through a consideration of recent art practices and projects, including the dance project Breath Catalogue, which makes visible the breathing patterns of dancers, and Forensic Architecture’s Cloud Studies video, which investigates eight different kinds of clouds from airstrikes to herbicides to tear gas, Albano focuses on breath as both an intuitive process and a conveyer of meanings. Conceived in response to the Covid-19 pandemic and systemic inequalities that it has laid bare, the book shows the potential of artistic practices to mobilize affect as a form of cultural and political critique.
Théorie de l’art
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Projection has long been transforming space, from shadow plays to camera obscuras and magic lantern shows. Our fascination with projection is alive on the walls of museums and galleries and woven into our daily lives. Giuliana Bruno explores the histories of projection and atmosphere in visual culture and their continued importance to contemporary artists who are(...)
Atmospheres of projection: Environmentality in art and screen media
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Projection has long been transforming space, from shadow plays to camera obscuras and magic lantern shows. Our fascination with projection is alive on the walls of museums and galleries and woven into our daily lives. Giuliana Bruno explores the histories of projection and atmosphere in visual culture and their continued importance to contemporary artists who are reinventing the projective imagination with atmospheric thinking and the use of elemental media. She reveals how atmosphere is formed and mediated, how it can change, and what projection can do to modify a site. In so doing, she gives new life to the alchemic possibilities of transformative projective atmospheres. Showing how their “environmentality” produces sites of exchange and relationality, this book binds art to the ecology of atmosphere.
Théorie de l’art