From a Nation Torn provides a powerful critique of art history's
understanding of French modernism and the historical circumstances
that shaped its production and reception. Within art history, the
aesthetic practices and theories that emerged in France from the
late 1940s into the 1960s are demarcated as postwar. Yet it was
during these very decades that France fought a protracted series of
wars to maintain its far-flung colonial empire. Given that French
modernism was created during, rather than after, war, Hannah
Feldman argues that its interpretation must incorporate the
tumultuous "decades of decolonization"and their profound influence
on visual and public culture. Focusing on the Algerian War of
Independence (1954–1962) and the historical continuities it
presented with the experience of the Second World War, Feldman
highlights decolonization's formative effects on art and related
theories of representation, both political and aesthetic.
Ultimately, From a Nation Torn constitutes a profound exploration
of how certain populations and events are rendered invisible and
their omission naturalized within histories of modernity. Â
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