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A commitment to modernity is the underlying theme of this volume. Through essays that are interpretive and theoretical, the author seeks to situate the modern in contemporary cultural practice. She sets up an ideological vantage point to view modernism along its multiple tracks in India and the third world.The essays divide into three sections. The first two sections, Artists and ArtWork and Film/Narratives, raise questions of authorship, genre, and contemporary features of national culture that materialize into an aesthetic in the Indian context. The last section, Frames of Reference, formalizes the polemical options developed across the book. The essays here propose resistance to the depoliticization of narratives, and affirm an open-ended engagement with the avant-garde. They explore the possibility of art practice finding its own signifying space that is still a space for radical transformation.Geeta Kapur is an independent art critic and curator living in New Delhi. Her extensive publications on modern Indian art include the book Contemporary Indian Artists (Delhi, 1978), exhibition catalogues and monographs on artists. She is currently writing a monograph on Tyeb Mehta. Her essays on cultural criticism have been widely presented in forums of art history and cultural studies. Her curatorial work includes the show Bombay/Mumbai 1992 2001 in the multi-part exhibition titled Century City: Art and Culture in the Modern Metropolis , at Tate Modern, London, in 2001. Geeta Kapur is a founder-editor of the Journal of Arts & Ideas and advisory editor to Third Text. She has held research fellowships at Indian Institute of Advanced Study, Shimla, Nehru Memorial Museum and Library, New Delhi, and Clare Hall, Cambridge University. For the past three decades, [Geeta Kapur s] has been the singular dominant presence in the field to a point that her writings alone seem to have constituted the whole field of modern Indian art theory and criticism. Tapati Guha-Thakurta, Biblio (Delhi), May June 2001. Geeta Kapur is a magisterial presence in the sphere of modern Indian art. [The] insistence on the primacy of bearing witness to creative practice has been the leitmotif of Kapur s work. . . . Kapur s contribution . . . is best understood by reflection on the radical change that her activity has brought about in Indian art criticism. Ranjit Hoskote, Art India (Mumbai), Vol. VI, 1, 2001. When Was Modernism is a book of essays: imaginative, interpretive, argumentative, polemical, political and, in the combined sense of all these, historical. . . . [It] provides an instance of passionate engagement that, at its best moments, verges on the poetic. Chaitanya Sambrani, ART AsiaPacific (Australia), Issue 30, 2001.
Ethnographic study of cultural politics in the contemporary Egyptian art world, examining how art-making is a crucial aspect of the transformation from socialism to neoliberalism in postcolonial countries.
"Modern Arab Art provides a historical and theoretical overview of the forces that have spawned artistic movements across the Middle East from the 1940s through today. Nada Shabout recognizes the important distinction between Arabic art and Islamic art, and views them as overlapping rather than synonymous subjects. Based on interviews with Arab artists, reviews of Arabic resources, and visits to sites and galleries in the Arab world, Shabout provides an introduction to a field that has been long neglected. With particular emphasis on production, reception, and the intersection between art and politics in Iraq and Palestine, she reveals the fallacy in Western fascination with Arab art as a timeless and exotic 'other'"--Jacket.
In the thick of the Second World War, the Cairo-based Surrealist collective Art et Liberte were pioneering new art forms and mounting subversive exhibitions that sent shockwaves across local artistic circles. Born with the publication of their Manifesto Long Live Degenerate Art on December 22nd, 1938, the group rejected the convergence of art and nationalism, aligning themselves with a complex, international and evolving Surrealist movement spanning cities such as Paris, London, Mexico City, New York, Beirut and Tokyo. Art and Liberty created a distinct reworking of Surrealism, which provided a generation of disillusioned Egyptian and non-Egyptian artists and writers, men and women alike, with a platform for cultural reform and anti-Fascist protest. Surrealism in Egypt is the first comprehensive analysis of Art and Liberty's artworks, literature and critical writings on Surrealism. By addressing the group's long-lost and often misconstrued legacy, and drawing on a substantial body of previously unpublished primary documents and more than 200 field interviews, the author charts Art and Liberty's significant contribution towards a new definition of Surrealism.Moving beyond the polarizing dichotomies of Saidian Orientalism, this book rewrites the history of Surrealism itself - advocating for a new definition of the movement that reflects an inclusive vision of art history.
In this lively and pathbreaking book, William Monter sketches Europe's increasing acceptance of autonomous female rulers between the late Middle Ages and the French Revolution. Monter surveys the governmental records of Europe's thirty women monarchs—the famous (Mary Stuart, Elizabeth I, Catherine the Great) as well as the obscure (Charlotte of Cyprus, Isabel Clara Eugenia of the Netherlands)—describing how each of them achieved sovereign authority, wielded it, and (more often than men) abandoned it. Monter argues that Europe's female kings, who ruled by divine right, experienced no significant political opposition despite their gender.
While earlier historians have seen the elaborate public rituals of the Burgundian dukes as stagnant forms held over from the chivalric world of the High Middle Ages, Peter Arnade argues that they were a vital theater of power through which the ducal court and the urban centers constantly renegotiated their relationship. This book is the first to apply the combined insights of social, political, and cultural history to an important but little-explored area of medieval and early modern Europe, the Burgundian Netherlands. Realms of Ritual traces the role of ritual in encounters between the dukes of Burgundy (later the Habsburg princes) and the townspeople of Ghent, the most important city in the county of Flanders. Arnade analyzes city-state ceremonies through which Ghent's aldermen, patricians, guildsmen, and the city's military and drama confraternities confronted local power and the growth of the Burgundian state. In the first serious reappraisal of Johan Huizinga's classic work The Waning of the Middle Ages, Arnade confirms Huizinga's vision of a Low Country society rich in public symbols, yet reveals the city-state conflict within which such ritual thrived. He offers a dramatically new perspective on the Northern Renaissance, as well as a historical/anthropological model for the study of urban-state relations.
The essays in this volume consider three aspects of queenship and politics: the institutional foundations and practice of politics, the politics of religion and religious devotion, and the literary and artistic representations of queenship and power. They address the distinctive Spanish political culture that resulted in a form of queenship similar to, yet also substantially different from, that of northern Europe.