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Utopia has become a dirty word in recent scholarship on modernism, architecture, urban planning and gender studies. Many utopian designs now appear impractical, manifesting an arrogant disregard for the lived experiences of the ordinary inhabitants who make daily use of global public and private spaces. The essays in Embodied Utopias argue that the gendered body is the crux of the hopes and disappointments of modern urban and suburban utopias of the Americas, Europe and Asia. They reassess utopian projects - masculinist, feminist, colonialist, progressive - of the late nineteenth and early twentieth centuries; they survey the dystopian landscapes of the present; and they gesture at the potential for an embodied approach to the urban future, to the changing spaces of cities and virtual landscapes.
Utopia has become a dirty word in recent scholarship on modernism, architecture, urban planning and gender studies. Many utopian designs now appear impractical, manifesting an arrogant disregard for the lived experiences of the ordinary inhabitants who make daily use of global public and private spaces. The essays in Embodied Utopias argue that the gendered body is the crux of the hopes and disappointments of modern urban and suburban utopias of the Americas, Europe and Asia. They reassess utopian projects - masculinist, feminist, colonialist, progressive - of the late nineteenth and early twentieth centuries; they survey the dystopian landscapes of the present; and they gesture at the potential for an embodied approach to the urban future, to the changing spaces of cities and virtual landscapes.
A rich exploration of American artworks that reframes them within
current debates on race, gender, the environment, and more Object
Lessons in American Art explores a diverse gathering of
Euro-American, Native American, and African American art from a
range of contemporary perspectives, illustrating how innovative
analysis of historical art can inform, enhance, and afford new
relevance to artifacts of the American past. The book is grounded
in the understanding that the meanings of objects change over time,
in different contexts, and as a consequence of the ways in which
they are considered. Inspired by the concept of the object lesson,
the study of a material thing or group of things in juxtaposition
to convey embodied and underlying ideas, Object Lessons in American
Art examines a broad range of art from Princeton University's
venerable collections as well as contemporary works that
imaginatively appropriate and reframe their subjects and style,
situating them within current social, cultural, and artistic
debates on race, gender, the environment, and more. Distributed for
the Princeton University Art Museum
After 1500, as Catholic Europe fragmented into warring sects,
evidence of a pagan past came newly into view, and travelers to
distant places encountered deeply unfamiliar visual cultures, it
became ever more pressing to distinguish between the sacred image
and its opposite, the 'idol'. Historians and philosophers have long
attended to Reformation charges of idolatry - the premise for
image-breaking - but only very recently have scholars begun to
consider the ways that the idol occasioned the making no less than
the destruction. The present book focuses on how idols and ideas
about them matter for the history of early modern objects produced
around the globe, especially those created in the context of an
exchange or confrontation between an 'us' and a 'them'. Ranging
widely within the early modern period, the volume contributes to
the project of globalizing the study of European art, bringing the
continent's commercial, colonial, antiquarian, and religious
histories into dialogue. Its studies of crosses, statues on
columns, wax ex-votos, ivories, prints, maps, manuscripts,
fountains, banners, and New World gold all frame Western 'art'
simultaneously as an idea and as a collection of real things,
arguing that it was through the idol that object-makers and writers
came to terms with what it was that art should be, and do.
During the 1960s and 70s, Chicago was shaped by art and ideas
produced and circulated on its South Side. Defined by the city’s
social, political, and geographic divides and by the energies of
its multiple overlapping art scenes, this vibrant moment of
creative expression produced a cultural legacy whose impact
continues to unfold nationally and internationally. The Time is
Now! Art Worlds of Chicago’s South Side, 1960-1980, published in
tandem with an exhibition at the Smart Museum of Art, examines this
cultural moment—brimming with change and conflict—and the
figures who defined it. Focusing primarily on African American
artists in and out of the Black Arts Movement, The Time is Now!
re-examines watershed cultural moments: from the Wall of Respect to
Black Creativity, from the Civil Rights Movement to AfriCOBRA, from
vivid protest posters to visionary Afrofuturist art, and from the
Hairy Who to the radical sounds of the Association for the
Advancement of Creative Musicians. Employing new scholarship that
reassesses and recalibrates traditional narratives of postwar
Chicago art, the exhibit resonates with current national dialogues
around race, gender, protest, and belonging. The book contains a
series of long and short essays, interviews, and other contextual
material, along with full-color images of all works included in the
exhibition and extensive reproductions of ephemera and historical
photographs
The Wall of Respect: Public Art and Black Liberation in 1960s
Chicago is the first in-depth, illustrated history of a lost
Chicago monument. The Wall of Respect was a revolutionary mural
created by fourteen members of the Organization of Black American
Culture (OBAC) on the South Side of Chicago in 1967. This book
includes photographs by Darryl Cowherd, Bob Crawford, Roy Lewis,
and Robert A. Sengstacke, and gathers historic essays, poetry, and
previously unpublished primary documents from the movement's
founders that provide a guide to the work's creation and evolution.
The Wall of Respect received national critical acclaim when it was
unveiled on the side of a building at Forty-Third and Langley in
Chicago's Bronzeville neighborhood. Painters and photographers
worked side by side on the mural's seven themed sections, which
featured portraits of Black heroes and sheroes, among them John
Coltrane, Nina Simone, Billie Holiday, Malcolm X, Muhammad Ali, and
W. E. B. Du Bois. The Wall became a platform for music, poetry, and
political rallies. Over time it changed, reflecting painful
controversies among the artists as well as broader shifts in the
Civil Rights and Black Liberation Movements. At the intersection of
African American culture, politics, and Chicago art history, The
Wall of Respect offers, in one keepsake-quality work, an
unsurpassed collection of images and essays that illuminate a
powerful monument that continues to fascinate artists, scholars,
and readers in Chicago and across the United States.
In 1540 Antonio Lafreri, a native of Besancon transplanted to Rome,
began publishing maps and other printed images that depicted major
monuments and antiquities in Rome. These prints--of statues and
ruined landscapes, inscriptions and ornaments, reconstructed
monuments and urban denizens--evoked ancient Rome and appealed to
the taste for classical antiquity that defined the Renaissance.
Collections of these prints came to be known as the "Speculum
Romanae Magnificentiae," the "Mirror of Roman Magnificence."
Published in conjunction with an exhibition of the University of
Chicago Library's "Speculum Romanae Magnificentiae," the largest
collection of its kind in the world, "The Virtual Tourist in
Renaissance Rome" places these prints in their historical context
and examines their publishing history. Editor Rebecca Zorach traces
their journey from their creators and publishers to pilgrims,
collectors, antiquarians, and dealers--"virtual tourists" who, over
several centuries, revisited and reinvented the Renaissance image
of Rome. A marvelous exploration of a rich collection of engravings
and etchings, this illustrated volume will fascinate anyone
interested in Renaissance Rome, the history of print collecting,
the reception of antiquity, and tourism.
In 1968, Chicago made headlines for the ferocity of its police
response to protesters at the Democratic National Convention,
prompting outrage in the art world. Some artists pulled their shows
from the city and called for a boycott until the mayor left office.
But others responded artistically, creating new works and even full
exhibitions in reaction to the political and social issues raised
by the summer's events.
Despite the city's sometimes notorious political and social
history, art practices that challenge authority have thrived in
Chicago. "Art Against the Law" examines the creative tactics of the
city's activist artists and their ways of addressing the broad
definitions of the law--from responses to excessive policing to
inequities in public policy. These include creative forms of
protest, rebellion against the law through illegal art practices,
and using the political system itself as an art medium to alter
existing laws. The essays and conversations in this volume also
address the boundaries between art and creative activism and
question whether lines should be drawn at all. Through these texts
and interviews, "Art Against the Law "proves that creative
imagination can be formidable in challenging the status quo.
"Art Against the Law" is part of the new Chicago Social Practice
History series, edited by Mary Jane Jacob and Kate Zeller in the
Department of Exhibitions and Exhibition Studies at the School of
the Art Institute of Chicago (SAIC).
In the 1960s and early 1970s, Chicago witnessed a remarkable
flourishing of visual arts associated with the Black Arts Movement.
From the painting of murals as a way to reclaim public space and
the establishment of independent community art centers to the work
of the AFRICOBRA collective and Black filmmakers, artists on
Chicago's South and West Sides built a vision of art as service to
the people. In Art for People's Sake Rebecca Zorach traces the
little-told story of the visual arts of the Black Arts Movement in
Chicago, showing how artistic innovations responded to decades of
racist urban planning that left Black neighborhoods sites of
economic depression, infrastructural decay, and violence. Working
with community leaders, children, activists, gang members, and
everyday people, artists developed a way of using art to help
empower and represent themselves. Showcasing the depth and
sophistication of the visual arts in Chicago at this time, Zorach
demonstrates the crucial role of aesthetics and artistic practice
in the mobilization of Black radical politics during the Black
Power era.
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