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Affiche du document Our Lady of the World's Fair

Our Lady of the World's Fair

D. Nelson Ruth

3h18min00

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264 pages. Temps de lecture estimé 3h18min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.
Accès libre
Affiche du document Futurist Files

Futurist Files

Iva Glisic

1h47min15

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143 pages. Temps de lecture estimé 1h47min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.
Accès libre
Affiche du document Italian Forgers

Italian Forgers

Carol Helstosky

3h14min15

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259 pages. Temps de lecture estimé 3h14min.
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era.Carol Helstosky examines foreign accounts of transactions and Italian writings about the art market. The actions and words of Italian dealers illustrate how the Italian art and antiquities market was an undeniably modern industry, on par with tourism in terms of its contribution to the Italian economy and to understandings of Italian identity. These accounts also reveal how dealers, artists, go-betweens, guides, and restorers worked to not only meet the intense demand for Italian products but also to develop highly sophisticated business practices to maintain financial stability and respond to shifts in demand consciously (but not always conscientiously).Italian Forgers weaves a compelling narrative about the history of Italian identity, forgery, and the value of the past. As a result, Helstosky brings historical perspective to the study of art forgery and art fraud. She reveals how historical circumstances and structural imbalances of cultural power shaped the market for art and antiquities and amplified incidents of art deception and forgery scandals.
Accès libre
Affiche du document Unbelonging

Unbelonging

A. Ramos Ivan

1h43min30

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138 pages. Temps de lecture estimé 1h43min.
How Latinx artists engage in sonic subcultures to reject neoliberal definitions of belongingWhat is the connection between the British rock star Morrissey and the Latinx culture of transnational “unbelonging”? What is the relevance of “dyke chords” in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance?Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists’, writers’, and creators’ use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of “unbelonging,” a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues that racial identity and belonging have historically required legible forms of performance. Sound has been the primary medium that amplifies and is used to assign cultural citizenship and, for Latinx individuals, legibility is essential to music perceived as traditional and authentic to their national origins. In the context of twentieth-century neoliberal policies, which cemented the concept of “citizen” within logics of consumerism and capitalism, Ramos turns to focus on Latinx artists, writers, and audiences, who produce experimental and often “inauthentic” performances and installations in sonic subcultures to reject new definitions of economic citizenship.Organized around studies of a number of artists, all whom are explored through the methodological frameworks of sound studies, performance studies, and queer theory, Unbelonging unearths how their very different genres of music share a unifying theme of dissonance. With the backdrop of neoliberalism’s attempt to define citizenship in relation to economic and cultural legibility, Unbelonging offers an urgent analysis of how these oft-overlooked queer and feminist performers and fans used sonic illegibility to challenge gender norms, official definitions of citizenship, and narratives of assimilation. Ultimately, these forms of inauthenticity move beyond negation and become ways to imagine alternative realities.
Accès libre
Affiche du document Unintended

Unintended

Monica Huerta

4h06min00

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328 pages. Temps de lecture estimé 4h06min.
Reimagines photography through the long history of ideas of expressionThe end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of “expression” into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control’s absence are central to the practice and idea of property-making. The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.
Accès libre
Affiche du document Our Lady of the World's Fair

Our Lady of the World's Fair

D. Nelson Ruth

2h01min30

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162 pages. Temps de lecture estimé 2h01min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.
Accès libre
Affiche du document Postwar Revisited

Postwar Revisited

Okwui Enwezor and Atreyee Gupta

4h30min45

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361 pages. Temps de lecture estimé 4h31min.
Okwui Enwezor’s 2016 exhibition Postwar: Art between the Pacific and the Atlantic, 1945–1965 redefined the history of art produced in those two decades. Nearly a decade later, Postwar Revisited returns to these debates to present an image of a historical period in which Western conceptions of art, aesthetics, and philosophy are all thrown into intense flux after Auschwitz and Hiroshima, while the cultural energies of decolonization generate myriad artistic and intellectual practices across the globe, which re-engage the connections of art to life itself. Focusing on modernist artists, artist collectives, and architects central to dissonant regional traditions, as well as influential exhibitions and patronage systems, the contributors produce a new understanding of emergent postwar global art. Provoking new ways of thinking, engaging, and narrating art history, Postwar Revisited is essential reading for those interested in debates on global art history and global modernism, the intersections between art and decolonization, the cultural aspects of the Cold War and the Non-Aligned Movement, and modern and contemporary art more generally.Contributors. Iftikhar Dadi, Okwui Enwezor, Patrick Flores, Hal Foster, Boris Groys, Atreyee Gupta, Elizabeth Harney, Jennifer Josten, Vivian Li, Tara McDowell, Alexandra Munroe, Nada Shabout, Terry Smith, Jenni Sorkin, Ming Tiampo 
Accès libre
Affiche du document To the Collector Belong the Spoils

To the Collector Belong the Spoils

Annie Pfeifer

2h06min00

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168 pages. Temps de lecture estimé 2h06min.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James''s paper hoarding to Einstein''s mania for African art and Benjamin''s obsession with old Russian toys, she shows how these authors'' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future.Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement''s artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting''s long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.
Accès libre

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