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This book analyzes the relationship between art and politics in two contrasting modern dictatorships. Through a detailed look at the Chilean and Romanian dictatorships, it compares the different ways in which political regimes convey their view of the world through artistic means. It examines how artists help \ convey a new understanding of politics and political action during repressive regimes that are inspired by either communism or anti-communism (neoliberalism, traditionalist, conservative). This book demonstrates how artistic renderings of life during dictatorships are similar in more than one respect, and how art can help better grasp the similarities of these regimes. It reveals how dictatorships use art to symbolically construct their power, which artists can consolidate by lending their support, or deconstruct through different forms of artistic resistance.
Item concerntrates upon art in Germany between 1933 and 1945.
Non la biennale de Sao Paulo -- Antonio Manuel: experimental exercise of freedom? -- Artur Barrio: a visual aesthetics for the third world -- Cildo Meireles: an explosive art -- Conclusion: Opening the wounds : longing for closure.
"Overcoming Dictatorships explores art produced in response to the collapse of political authoritarian systems in 1989, particularly those of the Soviet bloc. A case in point is the visual work and discussions of ten artists who have bean selected and commissioned by 'Overcoming Dictatorships', a 2006-09 project generously funded by the European Union (EU). It aims to create a dialogue on post-dictatorial experiences among participants from countries designated as 'East' and 'West' Europe. Their works represent attempts to overcome collective identity formations of the past (i.e. the Soviet bloc, National Socialism and Fascism), critically engage with the fear of new dictatorships (including consumerism, globalization and mass media) and question 'western' political and social-economic uniformities (including the EU). Hence Overcoming Dictatorships challenges compartmentalized thinking and thus attempts to overcome authoritarianism. It is not the intention to add another pillar to a proclaimed European cultural heritage, but rather to contribute to bridging the East and the West, exposing the concepts of East and West Europe as in transition, which, as dominant cultural reference points for the contemporary visual, may also be on the way out, being replaced by an endless variety of issues, themes and positions." --Book Jacket.
Joseph Hartman focuses on the public works campaign of Cuban president, and later dictator, Gerardo Machado. Political histories often condemn Machado as a US-puppet dictator, overthrown in a labor revolt and popular revolution in 1933. Architectural histories tend to catalogue his regime’s public works as derivatives of US and European models. Dictator’s Dreamscape reassesses the regime’s public works program as a highly nuanced visual project embedded in centuries-old representations of Cuba alongside wider debates on the nature of art and architecture in general, especially in regards to globalization and the spread of US-style consumerism. The cultural production overseen by Machado gives a fresh and greatly broadened perspective on his regime’s accomplishments, failures, and crimes. The book addresses the regime’s architectural program as a visual and architectonic response to debates over Cuban national identity, US imperialism, and Machado’s own cult of personality.
Often dismissed as window-dressing, nominally democratic institutions, such as legislatures and political parties, play an important role in non-democratic regimes. In a comprehensive cross-national study of all non-democratic states from 1946 to 2002 that examines the political uses of these institutions by dictators, Gandhi finds that legislative and partisan institutions are an important component in the operation and survival of authoritarian regimes. She examines how and why these institutions are useful to dictatorships in maintaining power, analyzing the way dictators utilize institutions as a forum in which to organize political concessions to potential opposition in an effort to neutralize threats to their power and to solicit cooperation from groups outside of the ruling elite. The use of legislatures and parties to co-opt opposition results in significant institutional effects on policies and outcomes under dictatorship.