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"Adventurer as well as poet and boxer, Fabian Avenarius Lloyd (1887-1918) – a towering ‘mystic Colossus’ – assumed the pseudonym Arthur Cravan on arriving in Paris in 1909. He was a highly enigmatic man, a uniquely colourful character whose life merged into his work, and whose birth and death remain as obscure as his livelihood. Cravan, nephew of Oscar Wilde, achieved fame through the non-conformist magazine Maintenant, of which he was director, editor and sole contributor. Given his mysterious background, his behaviour and his sense of provocation, Cravan is clearly entitled to a place among the key precursors of Dadaism. Surely the least of Cravan’s feats included entering the ring against world heavyweight champion Jack Johnson, selling his poetry in the streets of Paris like a barrow-boy hawking fruit and vegetables, and on numerous occasions giving active voice to his views under the imperious and imperative title : MAINTENANT."--Page 4 de la couverture.
The first comprehensive English-language account and critical reading of the legendary poet and boxer Arthur Cravan, a fleeting figure on the periphery of early twentieth-century European avant-gardism.
First published in 1967, Guy Debord’s stinging revolutionary critique ofcontemporary society, The Society of the Spectacle has since acquired acult status. Credited by many as being the inspiration for the ideasgenerated by the events of May 1968 in France, Debord’s pitiless attackon commodity fetishism and its incrustation in the practices of everydaylife continues to burn brightly in today’s age of satellite televisionand the soundbite. In Comments on the Society of the Spectacle, publishedtwenty years later, Debord returned to the themes of his previousanalysis and demonstrated how they were all the more relevant in aperiod when the “integrated spectacle” was dominant. Resolutely refusingto be reconciled to the system, Debord trenchantly slices through thedoxa and mystification offered tip by journalists and pundits to showhow aspects of reality as diverse as terrorism and the environment, theMafia and the media, were caught up in the logic of the spectacularsociety. Pointing the finger clearly at those who benefit from the logicof domination, Debord’s Comments convey the revolutionary impulse atthe heart of situationism.
Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.
Today's war is for the survival of the planet. In Maintenant 14: A Journal of Contemporary Dada Writing and Art, the weapon of choice is Dada. Today, everyone in the world is affected by the growing impact of climate change, pollution, plastics, and lack of sustainability. The 2020 edition of the premiere journal of contemporary dada writing and art confronts the situation with a bold and rebellious collection of work that shows the absurdity of continuing the practices that have taken earth to the precipice of extinction. Using the theme "UN-SUSTAIN-A-BULL-SH*T" Maintenant 14 creators turn poetry and art into weapons that expose, confront, and lambast policies that have taken the planet to tipping points in the climate system, biodiversity loss, and the risk of social and ecological collapse. The premier journal gathering the work of internationally-renowned contemporary Dada artists and writers, Maintenant 14 offers compelling proof that Dada continue to serve as a catalyst to creators more than a century later. The annual MAINTENANT series, established in 2008, gathers work of contemporary Dada artists and writers from around the world. The new issue features cover art by neo-pop artist/provocateur Walter Robinson. Past issues include art by Mark Kostabi, Raymond Pettibon, Nicole Eisenmann, Jean-Jacques Lebel, Charles Mingus III, and Kazunori Murakami; writing by Gerard Malanga, Charles Plymell, Andrei Codrescu, Anne Waldman, and more, with a strong contingent of artist-writers from the world of punk rock.
The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.
Throughout history, potters, sculptors, painters, poets, novelists, cartoonists, song-writers, photographers, and filmmakers have recorded and tried to make sense of boxing. From Daniel Mendoza to Mike Tyson, boxers have embodied and enacted our anxieties about race, ethnicity, gender, and sexuality. In her encyclopedic investigation of the shifting social, political, and cultural resonances of this most visceral of sports, Kasia Boddy throws new light on an elemental struggle for dominance whose weapons are nothing more than fists. Looking afresh at everything from neoclassical sculpture to hip-hop lyrics, Boddy explores the ways in which the history of boxing has intersected with the history of mass media. Boddy pulls no punches, looking to the work of such diverse figures as Henry Fielding and Spike Lee, Charlie Chaplin and Philip Roth, James Joyce and Mae West, Bertolt Brecht and Charles Dickens in an all-encompassing study that tells us just how and why boxing has mattered so much to so many.
The man sometimes known as Arthur Cravan made a reputation for himself partly through violent theatrics. He shot a gun over the heads of his audience, he threw a boxing match in order to gain funds to traverse the ocean to New York City, and, finally, in an act of great negation, he got lost on a sail boat in the gulf of Mexico and never returned. A defiant proletarian, Cravan writes in such a way that spits in the face of his contemporary artists for their haughtiness and their old age, as well as for their lack of interest in danger and women. It's no wonder that the surrealists and the Situationists gravitated toward him.
“[An] epic account of life and loves among artists and writers in Paris from belle époque to world slump.” —William Feaver, The Spectator A legendary capital of the arts, Paris hosted some of the most legendary developments in world culture—particularly at the beginning of the twentieth century, with the flowering of fauvism, cubism, dadaism, and surrealism. In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900–1930, a hotbed of artistic creation where we encounter Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. Sixteen pages of black-and-white illustrations are featured. “Franck spins lavish historical, biographical, artistic, and even scandalous details into a narrative that will captivate both serious and casual readers . . . Marvelous and informative.” —Carol J. Binkowski, Library Journal
A revealing biography of the influential and controversial cultural titan who embodied an era The Tastemaker explores the many lives of Carl Van Vechten, the most influential cultural impresario of the early twentieth century: a patron and dealmaker of the Harlem Renaissance, a photographer who captured the era's icons, and a novelist who created some of the Jazz Age's most salacious stories. A close confidant of Langston Hughes, Gertrude Stein, George Gershwin, F. Scott Fitzgerald, and the Knopfs, Van Vechten frolicked in the 1920s Manhattan demimonde, finding himself in Harlem's jazz clubs, Hell's Kitchen's speakeasies, and Greenwich Village's underground gay scene. New York City was a hotbed of vice as well as creativity, and Van Vechten was at the center of it all.Edward White's biography—the first comprehensive biography of Carl Van Vechten in nearly half a century, and the first to fully explore Van Vechten's tangled relationship to race and sexuality—depicts a controversial figure who defined an age. Embodying many of the contradictions of modern America, Van Vechten was a devoted husband with a coterie of boys by his side, a supporter of difficult art who also loved lowbrow entertainment, and a promoter of the Harlem Renaissance whose bestselling novel—and especially its title—infuriated many of the same African-American artists he championed. Van Vechten's defense of what many Americans considered bad taste—modernist literature, African-American culture, and sexual self-expression—created a popular appetite for these quintessential elements of American art. The Tastemaker encompasses its subject's private fears and longings, as well as Manhattan's raucous, taboo-busting social scene of which he was such a central part. It is a remarkable portrait of a man whose brave journeys across boundaries of race, sexuality, and taste helped make America fully modern.