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Here, in the first comprehensive survey of her work by an American museum, authors Peter Boswell, Maria Makela, and Carolyn Lanchner survey the full scope of Hoch's half-century of experimentation in photomontage - from her politically charged early works and intimate psychological portraits of the Weimar era to her later forays into surrealism and abstraction.
The modern pilgrimage—to sites ranging from Graceland to the veterans’ annual ride to to the Vietnam Veterans Memorial to Jim Morrison’s Paris grave—is intertwined with man’s existential uncertainties in the face of a rapidly changing world. In a climate that reproduces the religious quest in seemingly secular places, it’s no longer clear exactly what the term pilgrimage infers—and Shrines and Pilgrimage in the Modern World critiques our notions of the secular and the sacred, while commenting on the modern media’s multiplication of images that renders the modern pilgrimage a quest without an object. Using new ethnographical and theoretical approaches, this volume offers a surprising new vision on the non-secularity of the “secular” pilgrimage. "This book will be sure to stoke our intellectual fire and heat up the discussion over the highly charged topic of secular pilgrimage.”—Simon Bronner, Penn State University
The concept of »postmigration« has recently gained importance in the context of European societies' obsession with migration and integration along with emerging new forms of exclusion and nationalisms. This book introduces ongoing debates on the developing concept of »postmigration« and how it can be applied to arts and culture. While the concept has mainly gained traction in the cultural scene in Berlin, Germany, the contributions expand the field of study by attending to cultural expressions in literature, theatre, film, and art across various European societies, such as the United Kingdom, France, Finland, Denmark, and Germany. By doing so, the contributions highlight this concept's potential and show how it can offer new perspectives on transformations caused by migration.
The building of the Berlin Wall in 1961 shocked the world. Ever since, the image of this impenetrable barrier between East and West, imposed by communism, has been a central symbol of the Cold War. Based on vast research in untapped archival, oral, and private sources, Burned Bridge reveals the hidden origins of the Iron Curtain, presenting it in a startling new light. Historian Edith Sheffer's unprecedented, in-depth account focuses on Burned Bridge-the intersection between two sister cities, Sonneberg and Neustadt bei Coburg, Germany's largest divided population outside Berlin. Sheffer demonstrates that as Soviet and American forces occupied each city after the Second World War, townspeople who historically had much in common quickly formed opposing interests and identities. The border walled off irreconcilable realities: the differences of freedom and captivity, rich and poor, peace and bloodshed, and past and present. Sheffer describes how smuggling, kidnapping, rape, and killing in the early postwar years led citizens to demand greater border control on both sides--long before East Germany fortified its 1,393 kilometer border with West Germany. It was in fact the American military that built the first barriers at Burned Bridge, which preceded East Germany's borderland crackdown by many years. Indeed, Sheffer shows that the physical border between East and West was not simply imposed by Cold War superpowers, but was in some part an improvised outgrowth of an anxious postwar society. Ultimately, a wall of the mind shaped the wall on the ground. East and West Germans became part of, and helped perpetuate, the barriers that divided them. From the end of World War II through two decades of reunification, Sheffer traces divisions at Burned Bridge with sharp insight and compassion, presenting a stunning portrait of the Cold War on a human scale.
Nightwood Theatre is the longest-running and most influential feminist theatre company in Canada. Since 1979, the company has produced works by Canadian women, providing new opportunities for women theatre artists. It has also been the "home company" for some of the biggest names in Canadian theatre, such as Ann-Marie MacDonald. In Nightwood Theatre, Scott describes the company?s journey toward defining itself as a feminist theatre establishment, highlighting its artistic leadership based on its relevance to diverse communities of women. She also traces Nightwood?s relationship with the media and places the theatre in an international context by comparing its history to that of like companies in the U.K. and the U.S
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn
Cornell University is fortunate to have as its historian a man of Morris Bishop's talents and devotion. As an accurate record and a work of art possessing form and personality, his book at once conveys the unique character of the early university—reflected in its vigorous founder, its first scholarly president, a brilliant and eccentric faculty, the hardy student body, and, sometimes unfortunately, its early architecture—and establishes Cornell's wider significance as a case history in the development of higher education. Cornell began in rebellion against the obscurantism of college education a century ago. Its record, claims the author, makes a social and cultural history of modern America. This story will undoubtedly entrance Cornellians; it will also charm a wider public. Dr. Allan Nevins, historian, wrote: "I anticipated that this book would meet the sternest tests of scholarship, insight, and literary finish. I find that it not only does this, but that it has other high merits. It shows grasp of ideas and forces. It is graphic in its presentation of character and idiosyncrasy. It lights up its story by a delightful play of humor, felicitously expressed. Its emphasis on fundamentals, without pomposity or platitude, is refreshing. Perhaps most important of all, it achieves one goal that in the history of a living university is both extremely difficult and extremely valuable: it recreates the changing atmosphere of time and place. It is written, very plainly, by a man who has known and loved Cornell and Ithaca for a long time, who has steeped himself in the traditions and spirit of the institution, and who possesses the enthusiasm and skill to convey his understanding of these intangibles to the reader." The distinct personalities of Ezra Cornell and first president Andrew Dickson White dominate the early chapters. For a vignette of the founder, see Bishop's description of "his" first buildings (Cascadilla, Morrill, McGraw, White, Sibley): "At best," he writes, "they embody the character of Ezra Cornell, grim, gray, sturdy, and economical." To the English historian, James Anthony Froude, Mr. Cornell was "the most surprising and venerable object I have seen in America." The first faculty, chosen by President White, reflected his character: "his idealism, his faith in social emancipation by education, his dislike of dogmatism, confinement, and inherited orthodoxy"; while the "romantic upstate gothic" architecture of such buildings as the President's house (now Andrew D. White Center for the Humanities), Sage Chapel, and Franklin Hall may be said to "portray the taste and Soul of Andrew Dickson White." Other memorable characters are Louis Fuertes, the beloved naturalist; his student, Hugh Troy, who once borrowed Fuertes' rhinoceros-foot wastebasket for illicit if hilarious purposes; the more noteworthy and the more eccentric among the faculty of succeeding presidential eras; and of course Napoleon, the campus dog, whose talent for hailing streetcars brought him home safely—and alone—from the Penn game. The humor in A History of Cornell is at times kindly, at times caustic, and always illuminating.
The women of Weimar Germany had an uneasy alliance with modernity: while they experienced cultural liberation after World War I, these New Women still faced restrictions in their earning power, political participation, and reproductive freedom. Images of women in newspapers, films, magazines, and fine art of the 1920s, reflected their ambiguous social role, for the women who were pictured working in factories, wearing androgynous fashions, or enjoying urban nightlife seemed to be at once empowered and ornamental, both consumers and products of the new culture. In this book Maud Lavin investigates the multilayered social construction of femininity in the mass culture of Weimar Germany, focusing on the photomontages of the avant-garde artist Hannah Hoch.