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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles
Still Modernism offers a critique of the modernist imperative to
embrace motion, speed, and mobility. In the context of the rise of
kinetic technologies and the invention of motion pictures, it
claims that stillness is nonetheless an essential tactic of
modernist innovation. More specifically, the book looks at the ways
in which photographic stillness emerges as a counterpoint to motion
and to film, asserting its own clear visibility against the blur of
kinesis. Photographic stillness becomes a means to resist the
ephemerality of motion and to get at and articulate something real
or essential by way of its fixed limits. Combining art history,
film studies and literary studies, Louise Hornby reveals how
photographers, filmmakers, and writers, even at their most kinetic,
did not surrender attention to points of stillness. Rather, the
still image, understood through photography, establishes itself as
a mode of resistance and provides a formal response to various
modernist efforts to see better, to attend more closely, and to
remove the fetters of subjectivity and experience. Still Modernism
brings together a series of canonical texts, films and photographs,
the selection of which reinforces the central claim that stillness
does not lurk at the margins of modernism, but was constitutive of
its very foundations. In a series of comparisons drawing from
literary and visual objects, Hornby argues that still photography
allows film to access its own diffuse images of motion;
photography's duplicative form provides a serial structure for
modernist efforts to represent the face; its iterative structure
articulates the jerky rhythms of experimental narrative as
perambulation; and its processes of development allow for the world
to emerge independent of the human observer. Casting new light on
the relationship between photography and film, Hornby situates the
struggle between the still and the kinetic at the center of
modernist culture.
Arvey Foundation Book Award, Association for Latin American Art,
2018 Many Latin American artists and critics in the 1920s drew on
the values of modernism to question the cultural authority of
Europe. Modernism gave them a tool for coping with the mobility of
their circumstances, as well as the inspiration for works that
questioned the very concepts of the artist and the artwork and
opened the realm of art to untrained and self-taught artists,
artisans, and women. Writing about the modernist works in
newspapers and magazines, critics provided a new vocabulary with
which to interpret and assign value to the expanding sets of
abstracted forms produced by these artists, whose lives were shaped
by mobility. The Mobility of Modernism examines modernist artworks
and criticism that circulated among a network of cities, including
Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps
the dialogues and relationships among critics who published in
avant-gardist magazines such as Amauta and Revista de Avance and
artists such as Carlos Merida, Xul Solar, and Emilio Pettoruti,
among others, who championed esoteric forms of abstraction. She
makes a convincing case that, for these artists and critics,
modernism became an anticolonial stance which raised issues that
are still vital today-the tensions between the local and the
global, the ability of artists to speak for blighted or
unincorporated people, and, above all, how advanced art and its
champions can enact a politics of opposition.
In this, the first collection of prose by "one of the U.S.'s most
controversial performance artists" (P-Form Magazine), Frank Moore
explores his deep and uncompromising vision of human liberation and
art as a "battle against fragmentation." In the essays, writings
and rants of Frankly Speaking, roughly covering the period from the
late 1970s until his death in 2013, Moore reveals his plan for the
complete political and social transformation of American society
(see Platform for Frank's Presidential Candidacy 2008), stirs up
the "art world," urging fellow artists to truly live their calling
and not accept censorship (see Art is Not Toothpaste or The Combine
Plot), pulls the reader deeply into the heart of magic,
responsibility, shamanism, play, and expanded sexuality (see
Inter-Penetration or Dance of No Dancers), and much much more.
Frank Moore's essays have been praised by political activists,
authors, artists and cultural icons like Bill Mandel, John
Sinclair, Penny Arcade, Annie Sprinkle and many others for their
comprehensive and revolutionary world-view. The reader gets to join
Frank's joyful and fearless digging into the core issues of human
experience to get to something deeper: intimacy, tribal community,
freedom. Frankly Speaking also gives us a peek into the history of
these pieces, which have been widely published all over the world,
from the smallest of underground zines to the most established
mainstream art journals. But Frank always focused on the small,
personal, intimate level, and always fought to stay "underground."
As he writes in Mainstream Avant-Garde?: "The underground is where
the real freedom and the real ability to change society are to be
found." The writings in this collection have this "beautiful slow
pace as if forcing the mind of the reader to change pace as well
and let the other world come to the forefront - the cartography of
the soul is where you take us ... each in our own way ... rather
than your way ... which is generous indeed of you." (Shelley Berc,
writer, teacher) "You've hit another homer ... You ought to publish
a book of essays or perhaps a Frank Moore anthology." - Bill
Mandel, broadcast journalist, left-wing political activist and
author, best known for his televised condemnation of Sen. Joseph
McCarthy in the early '50s and later for his dramatic defiance of
the House Un-American Activities Committee (HUAC) in May 1960.
Published by Inter-Relations
Paris and London have long held a mutual fascination, and never
more so than in the period from 1700 to 1914, when each vied to be
"the" world's greatest city. Each city has been the focus of
countless books, yet here Jonathan Conlin explores the complex
relationship between them for the first time. The reach and
influence of both cities was such that the story of their rivalry
has global implications. By borrowing, imitating and learning from
each other, Paris and London invented the modern metropolis.
"Tales of Two Cities" examines and compares six urban spaces--the
street, the cemetery, the apartment, the restaurant, the underworld
and the music hall--that defined urban modernity in the nineteenth
century. The citizens of Paris and London first created these
essential features of the modern cityscape and, in doing so,
defined urban living for all of us.
Modernism's Other Work challenges deeply held critical beliefs
about the meaning-in particular the political meaning-of
modernism's commitment to the work of art as an object detached
from the world. Ranging over works of poetry, fiction, painting,
sculpture, and film, it argues that modernism's core aesthetic
problem-the artwork's status as an object, and a subject's relation
to it-poses fundamental questions of agency, freedom, and politics.
With fresh accounts of works by canonical figures such as William
Carlos Williams and Marcel Duchamp, and transformative readings of
less-studied writers such as William Gaddis and Amiri Baraka,
Siraganian reinterprets the relationship between aesthetic autonomy
and politics. Through attentive readings, the study reveals how
political questions have always been modernism's critical work,
even when writers such as Gertrude Stein and Wyndham Lewis boldly
assert the art object's immunity from the world's interpretations.
Reorienting our understanding of the period, Siraganian
demonstrates that the freedom of the art object from the reader's
meaning presented a way to imagine an individual's complicated
liberty within the state. Offering readers an original encounter
with modernism, Modernism's Other Work will interest literary and
art historians, literary theorists, critics, and scholars in
cultural studies.
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