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Malevich's sudden and startling realization of a non-objective way of painting – which he termed Suprematism – stands as a seminal moment in the history of twentieth-century art. Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors of this book convincingly demonstrate that it is only through a close and sustained reading of Malevich's late – and still widely misunderstood – painterly oeuvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.
In the decades preceding the Stonewall riots—in the wake of the 1948 publication of Alfred Kinsey’s controversial report on male sexuality and in the midst of a cold war culture of suspicion and paranoia—discussions of homosexuality within the New York art world necessarily circulated via gossip and rumor. Between You and Me explores this informal, everyday talk and how it shaped artists’ lives, their work, and its reception. Revealing the “trivial” and “unserious” aspects of the postwar art scene as key to understanding queer subjectivity, Gavin Butt argues for a richer, more expansive concept of historical evidence, one that supplements the verifiable facts of traditional historical narrative with the gossipy fictions of sexual curiosity. Focusing on the period from 1948 to 1963, Butt draws on the accusations and denials of homosexuality that appeared in the popular press, on early homophile publications such as One and the Mattachine Review, and on biographies, autobiographies, and interviews. In a stunning exposition of Larry Rivers’s work, he shows how Rivers incorporated gossip into his paintings, just as his friend and lover Frank O’Hara worked it into his poetry. He describes how the stories about Andy Warhol being too “swish” to be taken seriously as an artist changed following his breakthrough success, reconstructing him as an asexual dandy. Butt also speculates on the meanings surrounding a MoMA curator’s refusal in 1958 to buy Jasper Johns’s Target with Plaster Casts on the grounds that it was too scandalous for the museum to acquire. Between You and Me sheds new light on a pivotal moment in American cultural production as it signals new directions for art history.
It is unfashionable to talk about artistic truth. Yet the issues traditionally addressed under that term have not disappeared. Indeed, questions concerning the role of the artist in society, the relationship between art and knowledge and the validity of cultural interpretation have intensified. Lambert Zuidervaart challenges intellectual fashions. He proposes a new critical hermeneutics of artistic truth that engages with both analytic and continental philosophies and illuminates the contemporary cultural scene. People turn to the arts as a way of finding orientation in their lives, communities and institutions. But philosophers, hamstrung by their own theories of truth, have been unsuccessful in accounting for this common feature in our lives. This book portrays artistic truth as a process of imaginative disclosure in which expectations of authenticity, significance and integrity prevail. Understood in this way, truth becomes central to the aesthetic and social value of the arts.
"An unflinchingly honest, eye-opening, heartful story that's sure to keep readers talking." --Angie Thomas, #1 New York Times bestselling author of The Hate U Give and On the Come Up "Romantic, funny, hopeful, and unflinchingly real." --Becky Albertalli, New York Times bestselling author of Simon Vs. The Homosapiens Agenda The uplifting story of an HIV-positive teen, falling in love and learning to live her truth. Simone Garcia-Hampton is starting over at a new school, and this time things will be different. She's making real friends, making a name for herself as student director of Rent, and making a play for Miles, the guy who makes her melt every time he walks into a room. The last thing she wants is for word to get out that she's HIV-positive, because last time . . . well, last time things got ugly. Keeping her viral load under control is easy, but keeping her diagnosis under wraps is not so simple. As Simone and Miles start going out for real--shy kisses escalating into much more--she feels an uneasiness that goes beyond butterflies. She knows she has to tell him that she's positive, especially if sex is a possibility, but she's terrified of how he'll react! And then she finds an anonymous note in her locker: I know you have HIV. You have until Thanksgiving to stop hanging out with Miles. Or everyone else will know too. Simone's first instinct is to protect her secret at all costs, but as she gains a deeper understanding of the prejudice and fear in her community, she begins to wonder if the only way to rise above is to face the haters head-on. . . . "Full Disclosure is such a joy to read." --Erika Sanchez, National Book Award finalist for I Am Not Your Perfect Mexican Daughter "A big-hearted love letter to inclusivity, bravery, and acceptance, Full Disclosure is a wonder of a book." --Kathleen Glasgow, New York Times bestselling author of Girl in Pieces
Poetry. Art. African & African American Studies. Includes an audio CD. "Mendi + Keith Obadike are 21st century sonic griots channeling spirits worthy of the great poet Larry Neal's Bebop Ghosts and the interplanetary rhythms of Sun Ra and Pharoah Sanders. The richness of their references--from the nsibidi script of ancient Nigeria to oral histories from modern day Chicago--reminds us of the sacredness of the quotidian and animates the relentless admonitions of human ancestors who refuse to be silenced. Replete with nuance and wit, Big House/Disclosure is both elegy and praise song to enslaved Africans whose lives and losses speak to us across continents and across the centuries. Through word, image, performance and sound the Obadikes lead us on a journey that is fluid and fluent, gloriously unpredictable, endlessly inventive and engaging. In so doing, they map a territory of imagination and history that leaves the traveler breathless--and forever grateful."--Kinshasha Holman Conwill
A provocatively argued call for shifting the emphasis of critical theory from Habermasian "critique," restricted to normative clarification, to "disclosure," a possibility-enhancing approach that draws on and reinterprets ideas of Heidegger. In Critique and Disclosure, Nikolas Kompridis argues provocatively for a richer and more time-responsive critical theory. He calls for a shift in the normative and critical emphasis of critical theory from the narrow concern with rules and procedures of Jürgen Habermas's model to a change-enabling disclosure of possibility and the enlargement of meaning. Kompridis contrasts two visions of critical theory's role and purpose in the world: one that restricts itself to the normative clarification of the procedures by which moral and political questions should be settled and an alternative rendering that conceives of itself as a possibility-disclosing practice. At the center of this resituation of critical theory is a normatively reformulated interpretation of Martin Heidegger's idea of "disclosure" or "world disclosure." In this regard Kompridis reconnects critical theory to its normative and conceptual sources in the German philosophical tradition and sets it within a romantic tradition of philosophical critique. Drawing not only on his sustained critical engagement with the thought of Habermas and Heidegger but also on the work of other philosophers including Wittgenstein, Cavell, Gadamer, and Benjamin, Kompridis argues that critical theory must, in light of modernity's time-consciousness, understand itself as fully situated in its time—in an ever-shifting and open-ended horizon of possibilities, to which it must respond by disclosing alternative ways of thinking and acting. His innovative and original argument will serve to move the debate over the future of critical studies forward—beyond simple antinomies to a consideration of, as he puts it, "what critical theory should be if it is to have a future worthy of its past."
Dee Henderson Is Back! Ann Silver is a cop's cop. As the Midwest Homicide Investigator, she is called in to help local law enforcement on the worst of cases, looking for answers to murder. Hers is one of the region's most trusted investigative positions. Paul Falcon is the FBI's top murder cop in the Midwest. If the victim carried a federal badge or had a security clearance, odds are good Paul and his team see the case file or work the murder. Their lives intersect when Ann arrives to pass a case off her desk and onto his. A car wreck and a suspicious death offer a lead on a hired shooter he is tracking. Paul isn't expecting to meet someone, the kind that goes on the personal side of the ledger, but Ann Silver has his attention. The better he gets to know her, the more Paul realizes her job barely scratches the surface of who she is. She knows spies and soldiers and U.S. Marshals, and has written books about them. She is friends with the former Vice President. People with good reason to be cautious about who they let into their lives deeply trust her. Paul wonders just what secrets Ann is keeping, until she shows him the John Doe Killer case file, and he starts to realize just who this lady he is falling in love with really is...
How the approaches and methods of think tanks—including systems theory, operational research, and cybernetics—paved the way for a peculiar genre of midcentury modernism. In Think Tank Aesthetics, Pamela Lee traces the complex encounters between Cold War think tanks and the art of that era. Lee shows how the approaches and methods of think tanks—including systems theory, operations research, and cybernetics—paved the way for a peculiar genre of midcentury modernism and set the terms for contemporary neoliberalism. Lee casts these shadowy institutions as sites of radical creativity and interdisciplinary practice in the service of defense strategy. Describing the distinctive aesthetics that emerged from such institutions as the RAND Corporation, she maps the multiple and overlapping networks that connected nuclear strategists, mathematicians, economists, anthropologists, artists, designers, and art historians. Lee recounts, among other things, the decades-long colloquy between Albert Wohlstetter, a RAND analyst, and his former professor, the famous art historian Meyer Schapiro; the anthropologist Margaret Mead's deployment of innovative visual aids that recall midcentury abstract art; and the combination of cybernetics and modernist design in an “Opsroom” for the short-lived socialist government of Salvador Allende in 1970s Chile (and its restaging many years later as a work of art). Lee suggests that we think of these connections less as disciplinary border crossings than as colonization of the specific interests of arts by the approaches and methods of the sciences. Hearing the echoes of think tank aesthetics in today's pursuit of the interdisciplinary and in academia's science-infused justification of the humanities, Lee wonders what territory has been ceded in a laboratory approach to the arts.
How do the arts stack up as a major discipline? What is their effect on the brain, learning, and human development? How might schools best implement and assess an arts program? Eric Jensen answers these questions--and more--in this book. To push for higher standards of learning, many policymakers are eliminating arts programs. To Jensen, that's a mistake. This book presents the definitive case, based on what we know about the brain and learning, for making arts a core part of the basic curriculum and thoughtfully integrating them into every subject. Separate chapters address musical, visual, and kinesthetic arts in ways that reveal their influence on learning. What are the effects of a fully implemented arts program? The evidence points to the following: * Fewer dropouts * Higher attendance * Better team players * An increased love of learning * Greater student dignity * Enhanced creativity * A more prepared citizen for the workplace of tomorrow * Greater cultural awareness as a bonus To Jensen, it's not a matter of choosing, say, the musical arts over the kinesthetic. Rather, ask what kind of art makes sense for what purposes. How much time per day? At what ages? What kind of music? What kind of movement? Should the arts be required? How do we assess arts programs? In answering these real-world questions, Jensen provides dozens of practical, detailed suggestions for incorporating the arts into every classroom. Note: This product listing is for the Adobe Acrobat (PDF) version of the book.
Until now, Camillo Palladini's manuscript for his discourse on fencing was housed in the De Walden Library at the Wallace Collection in London. Hitherto unpublished and largely unknown, it is of central importance to a modern understanding of Italian rapier play in the sixteenth century. This stunning book, a joint endeavour between the Royal Armouries and the Wallace Collection, reproduces the forty-six red chalk illustrations in the manuscript--only three of which have ever been seen in print--together with a transcription and translation of the original Italian text. Perfect for students of fencing, lovers of Italian art, sixteenth-century researchers, and historical reenactors and interpreters, The Art of Fencing: The Forgotten Discourse of Camillo Palladini showcases a striking example of Renaissance swordsmanship.