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Robert Delaunay was one of the leading artists working in Paris in the early decades of the twentieth century, and his paintings have been admired ever since as among the earliest purely abstract works. With Resisting Abstraction, the first English-language study of Delaunay in more than thirty years, Gordon Hughes mounts a powerful argument that Delaunay was not only one of the earliest artists to tackle abstraction, but the only artist to present his abstraction as a response to new scientific theories of vision. The colorful, optically driven canvases that Delaunay produced, Hughes shows, set him apart from the more ethereal abstraction of contemporaries like Kandinsky, Mondrian, Kazimir Malevich, and František Kupka. In fact, Delaunay emphatically rejected the spiritual motivations and idealism of that group, rooting his work instead in contemporary science and optics. Thus he set the stage not only for the modern artists who would follow, but for the critics who celebrated them as well.
The first English-language study of the influential French painter Robert Delaunay to appear in thirty years. Delaunay has long been appreciated as one of the leading Parisian artists of the early twentieth century. And art historians have consistently viewed his vibrantly colored paintings starting in 1912 as early experiments in abstraction. Hughes, however, tautly argues that Delaunay was not just one of the earliest artists to work in pure abstraction, but the earliest one to do so. The colorful, optically driven canvases that Delaunay produced set him apart from the more ethereal abstraction of Kandinsky, Mondrian, Malevich, and Kupka, with whom he is often clubbed and whose spiritual motivations he rejected. Delaunay s paintings were grounded in material sensation and reflected the modern optical science of his time. They had nothing in common with the idealism that drove Kandinsky and the others. As a result, his work set the stage not only for the kind of abstraction that would come to dominate painting in the mid twentieth century (Pollock, Stella, Still, Kline); it also inspired the critics who theorized and elevated that particular strain of modernist practice."
Published on the occasion of an exhibition held at the Walker Art Center. Minneapolis, Minn., Feb. 27-May 23, 2010.
This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013).
In this book K. Brad Wray provides a comprehensive survey of the arguments against scientific realism. In addition to presenting logical considerations that undermine the realists' inferences to the likely truth or approximate truth of our theories, he provides a thorough assessment of the evidence from the history of science. He also examines grounds for a defence of anti-realism, including an anti-realist explanation for the success of our current theories, an account of why false theories can be empirically successful, and an explanation for why we should expect radical changes of theory in the future. His arguments are supported and illustrated by cases from the history of science, including a sustained study of the Copernican Revolution, and a study of the revolution in early twentieth century chemistry, when chemists came to classify elements by their atomic number rather than by their atomic weight.
Since the start of the financial crisis in 2008, the notion that capitalism has become too abstract for all but the most rarefied specialists to understand has been widely presupposed. Yet even in academic circles, the question of abstraction itself – of what exactly abstraction is, and does, under financialisation – seems to have gone largely unexplored – or has it? By putting the question of abstraction centre stage, How Abstract Is It? Thinking Capital Now offers an indispensable counterpoint to the ‘economic turn’ in the humanities, bringing together leading literary and cultural critics in order to propose that we may know far more about capital’s myriad abstractions than we typically think we do. Through in-depth engagement with classic and cutting-edge theorists, agile analyses of recent Hollywood films, groundbreaking readings of David Foster Wallace’s sprawling, unfinished novel, The Pale King, and even original poems, the contributors here suggest that the machinations and costs of finance – as well as alternatives to it – may already be hiding in plain sight. This book was originally published as a special issue of Textual Practice.
Edward Ragg's study was the first to examine the role of abstraction throughout the work of Wallace Stevens. By tracing the poet's interest in abstraction from Harmonium through to his later works, Ragg argues that Stevens only fully appreciated and refined this interest within his later career. Ragg's detailed close-readings highlight the poet's absorption of late nineteenth century and early twentieth century painting, as well as the examples of philosophers and other poets' work. Wallace Stevens and the Aesthetics of Abstraction will appeal to those studying Stevens as well as anyone interested in the relations between poetry and painting. This valuable study embraces revealing philosophical and artistic perspectives, analyzing Stevens' place within and resistance to Modernist debates concerning literature, painting, representation and 'the imagination'.
Better Worlds: Education, Art, and Utopia provides a fresh examination of utopia and education. Adopting an interdisciplinary approach and drawing on literature and the visual arts as well as traditional non-fiction sources, the authors explore utopia not as a model of social perfection but as the active, imaginative building of better worlds. Utopian questions, they argue, lie at the heart of education, and addressing such questions demands attention not just to matters of theoretical principle but to the particulars of everyday life and experience. Taking utopia seriously in educational thought also involves a consideration of that which is dystopian. Utopia, this book suggests, is not something that is fixed, final, or ever fully realized; instead, it must be constantly recreated, and education, as an ongoing process of reflection, action, and transformation, has a central role to play in this process.
This book puts radical theology and political theology into an interdisciplinary conversation with sustained and serious readings of resistance. Using an anthropology of ritual as a common thread, Jordan E. Miller explores the reality of the relationship between political theology, radical theology, and political theory, action, and power without cynicism in a creative, forward-moving way. The first half of the book develops a radical political theology and the second half applies that theory to a series of social movements, including The AIDS Coalition to Unleash Power (ACT UP), Occupy Wall Street, and #BlackLivesMatter, and includes reflections on the events at Standing Rock, ND.