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This is the first book to explore the global influence of Maoism on
modern and contemporary art. Featuring eighteen original essays
written by established and emerging scholars from around the world,
and illustrated with fascinating images not widely known in the
west, the volume demonstrates the significance of visuality in
understanding the protean nature of this powerful worldwide
revolutionary movement. Contributions address regions as diverse as
Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and
misconceptions of Mao Zedong Thought's influence on art to deliver
a survey of the social and political contexts of this international
phenomenon. At the same time, the book attends to the the
similarities and differences between each case study. It
demonstrates that the chameleonic appearances of global Maoism
deserve a more prominent place in the art history of both the
twentieth and twenty-first centuries. -- .
This book analyses the intermeshing of state power and art history
in Europe since 1945 and up to the present from a critical,
de-centered perspective. Devoting special attention to European
peripheries and to under-researched transnational cultural
political initiatives related to the arts implemented after the end
of the Second World War, the contributors explore the ways in which
this relationship crystallised in specific moments, places,
discourses and practices. They make the historic hegemonic centres
of the discipline converse with Europe's Southern and Eastern
peripheries, from Portugal to Estonia to Greece. By stressing the
margins' point of view this volume rethinks the ideological grounds
on which art history and the European Union have been constructed
as well as the role played by art and culture in the very concept
of 'Europe.'
This is the first book to explore the global influence of Maoism on
modern and contemporary art. Featuring eighteen original essays
written by established and emerging scholars from around the world,
and illustrated with fascinating images not widely known in the
west, the volume demonstrates the significance of visuality in
understanding the protean nature of this powerful worldwide
revolutionary movement. Contributions address regions as diverse as
Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and
misconceptions of Mao Zedong Thought's influence on art to deliver
a survey of the social and political contexts of this international
phenomenon. At the same time, the book attends to the the
similarities and differences between each case study. It
demonstrates that the chameleonic appearances of global Maoism
deserve a more prominent place in the art history of both the
twentieth and twenty-first centuries. -- .
This book analyses the intermeshing of state power and art history
in Europe since 1945 and up to the present from a critical,
de-centered perspective. Devoting special attention to European
peripheries and to under-researched transnational cultural
political initiatives related to the arts implemented after the end
of the Second World War, the contributors explore the ways in which
this relationship crystallised in specific moments, places,
discourses and practices. They make the historic hegemonic centres
of the discipline converse with Europe's Southern and Eastern
peripheries, from Portugal to Estonia to Greece. By stressing the
margins' point of view this volume rethinks the ideological grounds
on which art history and the European Union have been constructed
as well as the role played by art and culture in the very concept
of 'Europe.'
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