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This book is a cutting-edge, interdisciplinary collection of essays
by some of today's most forward-thinking scholars. The contributors
explore the ways in which the prefix "trans" erupts German identity
and the identity of Germany itself. The volume calls German
identity into question and examines the ways in which the prefix
"trans" is deployed to these ends in relation to national borders,
historical limits, political institutions, social practices, and
forms of cultural and aesthetic expression. The collection reveals
the ways in which the transcendence of national, corporeal,
disciplinary, and institutional limits is embodied by the use of
the prefix "trans"- and has the potential to do so much more. The
volume engages the multifaceted nature of "trans"- and a Germanness
that defies geography - to explore how Germans and Germany are
increasingly situated "beyond" limits. Collectively, these
investigations reveal a radical discourse of Germanness, a
discourse with significant implications for historical and
contemporary German self-understanding.The book asks the following:
What is German identity beyond geography? And what are the promises
and perils for Germany, and German identity, in becoming
transGerman?
A landmark examination of iconic and provocative portraits by
Warhol and Mapplethorpe, presented side by side and in depth for
the first time Andy Warhol (1928-1987) and Robert Mapplethorpe
(1946-1989) are well known for significant work in portraiture and
self-portraiture that challenged gender roles and notions of
femininity, masculinity, and androgyny. This exciting and original
book is the first to consider the two artists together, examining
the powerful portraits they created during the vibrant and
tumultuous era bookended by the Stonewall riots and the AIDS
crisis. Several important bodies of work are featured, including
Warhol's Ladies and Gentlemen series of drag queen portraits and
his collaboration with Christopher Makos on Altered Image, in which
Warhol was photographed in makeup and wigs, and Mapplethorpe's
photographs of Patti Smith and of female body builder Lisa Lyon.
These are explored alongside numerous other paintings, photographs,
and films that demonstrate the artists' engagement with gender,
identity, beauty, performance, and sexuality, including their own
self-portraits and portraits of one another. Essays trace the
convergences and divergences of Warhol and Mapplethorpe's work, and
examine the historical context of the artists' projects as well as
their lasting impact on contemporary art and queer culture.
Firsthand accounts by the artists' collaborators and subjects
reveal details into the making and exhibition of some of the works
presented here. With an illustrated timeline highlighting key
moments in the artists' careers, and more than 90 color plates of
their arresting pictures, this book provides a fascinating study of
two of the most compelling figures in 20th-century art. Published
in association with the Wadsworth Atheneum Museum of Art Exhibition
Schedule: Wadsworth Atheneum Museum of Art (10/17/15-1/24/16)
"What if we ascribe significance to aesthetic and social
divergences rather than waving them aside as anomalous? What if we
look closely at what does not appear central, or appears
peripherally, or does not appear at all, viewing ellipses,
outliers, absences, and outtakes as significant?" Eccentric
Modernisms places queer demands on art history, tracing the
relational networks connecting cosmopolitan eccentrics who
cultivated discrepant strains of modernism in America during the
1930s and 1940s. Building on the author's earlier studies of
Gertrude Stein and other lesbians who participated in transatlantic
cultural exchanges between the world wars, this book moves in a
different direction, focusing primarily on the gay men who formed
Stein's support network and whose careers, in turn, she helped to
launch, including the neo-romantic painters Pavel Tchelitchew and
writer/editor Charles Henri Ford. Eccentric Modernisms shows how
these "eccentric modernists" bucked trends by working collectively,
reveling in disciplinary promiscuity, and sustaining creative
affiliations across national and cultural boundaries.
Perfume atomizers are avidly collected today. In this exquisite,
color-illustrated new book, hundreds of atomizers are displayed and
identified. A well-documented text, descriptive captions and over
400 color photographs demonstrate the diverse and beautiful variety
of bottles and dispensers which make up the atomizer world. Art
Nouveau, Art Deco and Moderne styles reflect the changing tastes of
the public. Well-known designers and manufacturers, including Rene
Lalique, Marcel Franck, Baccarat, St. Louis, and Bohemian
glassmakers, contributed to this by-gone and ultra-feminine
apparatus.
What does it mean to look like a lesbian? Though it remains
impossible to conjure a definitive image that captures the breadth
of this highly nuanced term, today at least we are able to consider
an array of visual representations that have been put into
circulation by lesbians themselves over the last six or seven
decades. In the early twentieth century, though, no notion of
lesbianism as a coherent social or cultural identity yet existed.
In Women Together/Women Apart, Tirza True Latimer explores the
revolutionary period between World War I and World War II when
lesbian artists working in Paris began to shape the first visual
models that gave lesbians a collective sense of identity and
allowed them to recognize each other. Flocking to Paris from around
the world, artists and performers such as Romaine Brooks, Claude
Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize
and visualize a ""new breed"" of feminine subject. The book focuses
on problems of feminine and lesbian self-representation at a time
and place where the rights of women to political, professional,
economic, domestic, and sexual autonomy had yet to be acknowledged
by the law. Under such circumstances, same-sex solidarity and
relative independence from men held important political
implications. Combining gender theory with visual, cultural, and
historical analysis, Latimer draws a vivid picture of the impact of
sexual politics on the cultural life of Paris during this key
period. The book also illuminates the far-reaching consequences of
lesbian portraiture on contemporary constructions of lesbian
identity.
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