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The scale of death and destruction during the Battle of Stalingrad during late 1942 and early 1943 remains unprecedented in the history of warfare. The annihilation of General von Paulus’ 6th Army epitomised the devastating defeat of Hitler’s ambition to conquer Stalin’s Soviet Union. After the successful Operation Blue offensive 6th Army reached the River Volga north of Stalingrad in summer 1942. With over-extended supply lines and facing steely opposition, increasingly desperate attempts to seize the city repeatedly failed. Slowly 6th Army became encircled. The German High Command attempted a number of relief attempts, notably Field Marshal von Manstein’s ‘Winter Storm’ but all were defeated by the tenacity of the enemy and the Russian winter. To their credit the men of 6th Army fought to the end but by February 1943 the last pockets of German resistance were either destroyed or had surrendered. Thanks to a superb collection of unpublished photographs, this Images of War book provides an absorbing insight into the dramatic events of the last months of 6th Army’s doomed existence.
Last winter, a man tried to break Marcel Duchamp’s Fountain sculpture. The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts. Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture. Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.
Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
This rich and varied collection of essays by scholars and interviews with artists approaches the fraught topic of book destruction from a new angle, setting out an alternative history of the cutting, burning, pulping, defacing and tearing of books from the medieval period to our own age.
Medieval images and their content, intentions, and functions regularly followed specific strategies, rituals, and symbols of communication. This is true for religious as well as for secular images. One can recognize these strategies and rituals through analyzing the patterns that occur in the varieties of image construction, image space, image messages, and their perception. This book contains contributions by international specialists whose research interests concentrate on these patterns, the rituals associated with them, and the influences of these phenomena on the daily life of the image audience. (Series: History: Research and Science / Geschichte: Forschung und Wissenschaft - Vol. 39)
"Emmet Gowin likes to ask a provocative question: "Which country on earth has had the largest number of nuclear bombs detonated within its borders?" The answer is the United States. Covering approximately 680 square miles, the Nevada National Security Site, formerly known as the Nevada Test Site, was the primary testing location of American nuclear devices from 1951 to 1992; 1,021 announced nuclear tests occurred there, 921 of which were underground. The site, which is closed to the public, including its airspace, contains 28 areas, 1,100 buildings, 400 miles of paved roads, 300 miles of unpaved roads, 10 heliports, and two airstrips. Its surface is covered with subsidence craters from testing, and in places looks like the moon. In 1996, Gowin received permission to document the landscape by air, after over a decade of working to secure access. These aerial views of environmental devastation--made quietly majestic but no less potent in the hands of a master photographer--unveil environmental travesties on a grand scale. While groups of images from the Nevada Test Site series have been published previously, this book will produce the largest number yet, and three quarters of the pictures will not have been published at all. Gowin is the only photographer to have been granted access to this site, which is now permanently closed, post-9/11. Other than images made by the government for geographic purposes, no other images of this landscape exist. The book will feature a preface by photographer Robert Adams (America, b. 1937), whose photographic and written work is concerned with landscape, urbanization, and activism. It will also feature an afterword by Gowin on how he made the images, and their significance to him today."--Provided by publisher.
Diagnoses our contemporary spatial experience as fundamentally totalitarian through a multilayered critical theory of space. We live today within a system in which state and corporate power aim to render space flat, transparent, and uniform, for only then can it be truly controlled. The gaze of power and the commodity form are capable of infiltrating even the darkest of corners, and often, we invite them into our most private spaces. We do so as a matter of convenience, but also to placate ourselves and cope with the alienation inherent in our everyday lives. The resulting dominant space can best be termed totalitarian. It is space stripped of uniqueness, deprived of the “spatial aura” necessary for authentic experience. In Totalitarian Space and the Destruction of Aura, Saladdin Ahmed sets out to help us grasp what has been lost before no trace remains. He draws attention to that which we might prefer not to see, but despite the bleakness of this indictment of reality, the book also offers a message of hope. Namely, it is only once we comprehend the magnitude of the threat to our spatial experience and our own complicity in sustaining this system that we can begin to resist the totalizing forces at work. “This is a clear and important contribution to the existing literature and contemporary political thought in general. It expounds upon Benjamin’s analysis of the aura in his famous essay, ‘Art in the Age of Mechanical Reproduction,’ and, importantly, illustrates how this concept is incredibly pertinent to our society today.” — Mary Caputi, author of Feminism and Power: The Need for Critical Theory