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The first volume of Manchester University Press' 'Beginnings' series, which is based on Peter Barry's critically aclaimed bestseller, Beginning theoryThis brilliant digest offers a clear, step-by-step introduction to postmodernism on every discourse a. . . .
It has become a commonplace in Per Kirkeby exhibition catalogues to note that he earned a Master's in geology and participated in five research expeditions to Greenland, and to declare that he therefore paints in layers -- as obviously only a sedimentary geologist can. Not only do curators and critics rarely delve any deeper into the relation between the work of this prolific experimental artist and his background in Arctic Quaternary geology, but they also entirely ignore the many other academic interests that inform his art, both conceptually and visually. Yet Kirkeby himself has proclaimed, "A picture without intellectual superstructure is nothing." In "The Artist as Polyhistor", Lars Morell provides the superstructure missing from other critical accounts by examining intellectual content and allusions in the Kirkeby oeuvre from eleven disciplinary perspectives -- everything from theology to genetics and eros to crystallography. In addition, he has drawn on personal conversations with the artist, whose comments on the manuscript have also been incorporated into the final text. Morell maintains that art that is genuinely about something is necessarily full of conflict and unexpected juxtapositions. As a result, the works he has sought out here are rarely beautiful in formal terms, but instead tend to be dissonant and dynamic, featuring breaks and breaches and irreconcilable elements. With 150 handsome illustrations, chiefly in colour, and a wide-ranging but clearly written text, this volume will appeal equally to the general reader and the specialist in contemporary art.
This book investigates the sociohistorical making of place and people in Copenhagen from around 1900 to the present day. Drawing inspiration from Pierre Bourdieu’s sociology of social space and symbolic power, and from Loïc Wacquant’s hypothesis of advanced marginality and territorial stigmatisation, the book explores the genesis and development of the notorious neighbourhood of Copenhagen North West. As an extraordinary place, the North West provides an illustrative case of Danish welfare and urban history that questions the epitome on inclusive Copenhagen. Through detailed empirical analysis, the book spotlights three angles and entanglements of the social history of this area of Copenhagen: the production of socio-spatial constructions and authoritative categorisations of the neighbourhood, especially by the state and the media; the local social pedagogical interventions and symbolic boundary drawings by welfare agencies in the neighbourhood; and the residents’ subjective experiences of place, social divisions and (dis)honour. In this way, The Making of Place and People in the Danish Metropolis analyses how social, symbolical, and spatial structures dynamically intertwine and contribute to the fashioning of divisions of inequality and marginality in the city over the course of some 125 years. It will appeal to scholars of sociology, urban studies, and urban history, with interests in social welfare.
This is the first book to focus on Helhesten (The Hell-Horse), an avant-garde artists’ collective active during the Nazi occupation of Denmark and one of the few tangible connections between radical European art groups from the 1920s to the 1960s. The Danes’ deliberately unskilled painterly abstraction, embrace of the tradition of dansk folkelighed (the popular) and its iterations of egalitarianism and consensus reform, called for the political relevance of art and interrogated the ideologies underlying culture itself. The group’s cultural activism presents an alternative trajectory of continuity, which challenges the customary view of World War II as a moment of artistic rupture.