Dubin (Sociology/SUNY at Purchase) offers an involving and
evenhanded analysis of the ongoing confrontation between
taboo-breaking artists and traditionalists bent on maintaining the
status quo. The author skillfully organizes his wide-ranging
material into such categories as sexual content in art, and race,
religion, and patriotism as themes of the postmodernist cultural
milieu. In the process, he recaps the furor raised by such
well-publicized works as David K. Nelson's inflammatory portrait of
late Chicago mayor Harold Washington in women's underwear, Robert
Mapplethorpe's homoerotic photographs, and Andres Serrano's
"blasphemous" Piss Christ. Dubin provides background details that
place these controversies in historical context, tracing the
careers of such homosexual artists as Marsden Hartley and Charles
Demuth, for example. The author also delves into just why Marcel
Duchamp's dictum - that whatever an artist produces is art - fails
to convince conservative critics, especially when one such
"artist," Karen Finley, makes her artistic/political statements by
slathering her body with chocolate, cinnamon candies, and alfalfa
sprouts. And to his credit, Dubin conveys both the pros and the
cons concerning the use of taxpayers' money to fund the National
Endowment for the Arts. Accessible and paced with page-turning
immediacy - an excellent overview of what happens when the
avant-garde art world meets the conservative right. (Kirkus
Reviews)
Drawing upon extensive interviews, a broad sampling of media accounts, legal documents, and his own observations of important events, Steven Dubin surveys the censorship issues surrounding visual art, photography, and film, as well as artistic upstarts such as video and performance art. He examines both the nature of art work which disarms its viewers and the social reaction to it - the dual meaning of arresting images. Combining the eye of an aesthete and the rigour of a social scientist, Dubin offers insights into contemporary society and politics.
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