Mark Antliff – författare

The London-based avant-garde movement Vorticism, like its continental counterparts Cubism and Futurism and its English rival Bloomsbury was created by artists, poets, writers, and artist-writers, as a project that defied disciplinary boundaries. Vorticism: New Perspectives is the first volume to attend to the full range of the movements innovations, providing investigations into every aspect of the Vorticists artistic production: their avant-garde experiments in print culture, art criticism, theater, poetry, exhibition practice, manifesto writing, literature, sculpture, painting, and photography. The rich and varied essays in this volume constitute a timely and comprehensive reassessment of a key chapter in the history of modernism, and will be of interest to scholars across the full range of the humanities.

With radical formal innovations that scandalized the European art world, cubism revolutionized modern art and opened the path toward pure abstraction. Documenting the heady first years of this profoundly influential movement, "A Cubism Reader" presents the most comprehensive collection of cubist primary sources ever compiled for English-language publication.This definitive anthology covers the historical genesis of cubism from 1906 to 1914, with documents that range from manifestos and poetry to exhibition prefaces and reviews to articles that address the cultural, political, and philosophical issues related to the movement. Most of the texts Mark Antliff and Patricia Leighten have selected are from French sources, but their inclusion of carefully culled German, English, Czech, Italian, and Spanish documents speaks to the international reach of cubist art and ideas. Equally wide-ranging are the writers represented - a group that includes Guillaume Apollinaire, Gertrude Stein, Jean Metzinger, Albert Gleizes, Fernand Leger, Francis Picabia, Andre Salmon, Raymond Duchamp-Villon, Henri Le Fauconnier, and many others.These diverse selections - unabridged and freshly translated - represent a departure from the traditional view of cubism as shaped almost exclusively by Picasso and Braque.Augmented by Antliff and Leighten's insightful commentary on each entry, as well as many of the articles' original illustrations, "A Cubism Reader" ultimately broadens the established history of the movement by examining its monumental contributions from a variety of contemporary perspectives.

Sculptors Against the State considers the relation of anarchist ideology to avant-garde sculpture through an examination of three iconic artists whose work transformed European modernism: Umberto Boccioni, Jacob Epstein, and Henri Gaudier-Brzeska. Addressing such complex subjects as sexual liberation, homosexuality, the history of emotions, the ethics of violence, and tactics of nonviolent resistance, Mark Antliff demonstrates how sculptural processes were shaped by forms of anarchism calculated to foster a radical community.The anarchist view that the State is a state of mind and a set of social relationships is a central theme Antliff uses to explore not only the art of Boccioni, Epstein, and Gaudier-Brzeska but the associated aesthetics of radical luminaries such as Oscar Wilde, F. T. Marinetti, and Ezra Pound. Taking Boccioni’s Unique Forms of Continuity in Space, Epstein’s Tomb of Oscar Wilde, and Gaudier-Brzeska’s Hieratic Head of Ezra Pound as a starting point, Antliff argues that these sculptors saw the arts as a radical catalyst for an entirely new constellation of interpersonal relations and psychological dispositions—ones antithetical to those propagated by the State. Powerfully argued and informed by extensive archival research, Sculptors Against the State provides a new understanding of these artists, even as it sheds light on why contemporary anarchist theory is necessary for understanding the profound cultural impact modernism had during the twentieth century. Antliff’s work will be of interest to students and scholars of modernist art and literature, and particularly those who study the intersections between artistic practice and politics.

Sculptors Against the State considers the relation of anarchist ideology to avant-garde sculpture through an examination of three iconic artists whose work transformed European modernism: Umberto Boccioni, Jacob Epstein, and Henri Gaudier-Brzeska. Addressing such complex subjects as sexual liberation, homosexuality, the history of emotions, the ethics of violence, and tactics of nonviolent resistance, Mark Antliff demonstrates how sculptural processes were shaped by forms of anarchism calculated to foster a radical community.The anarchist view that the State is a state of mind and a set of social relationships is a central theme Antliff uses to explore not only the art of Boccioni, Epstein, and Gaudier-Brzeska but the associated aesthetics of radical luminaries such as Oscar Wilde, F. T. Marinetti, and Ezra Pound. Taking Boccioni’s Unique Forms of Continuity in Space, Epstein’s Tomb of Oscar Wilde, and Gaudier-Brzeska’s Hieratic Head of Ezra Pound as a starting point, Antliff argues that these sculptors saw the arts as a radical catalyst for an entirely new constellation of interpersonal relations and psychological dispositions—ones antithetical to those propagated by the State. Powerfully argued and informed by extensive archival research, Sculptors Against the State provides a new understanding of these artists, even as it sheds light on why contemporary anarchist theory is necessary for understanding the profound cultural impact modernism had during the twentieth century. Antliff’s work will be of interest to students and scholars of modernist art and literature, and particularly those who study the intersections between artistic practice and politics.

Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism's ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of advocates of fascist aesthetics, including artists, art critics, political activists, and government officials, outside of Germany. The eight essays in this book investigate the intersection of fascist ideology and aesthetics through a wide range of historical examples.Topics include: theories of cultural regeneration in Italy from the Risorgimento to fascism; the impact of fascism upon the work of such artists and art critics as Ardengo Soffici, Mario Sironi, Valentine de Saint-Point, and Waldemar George; the theories of modernist urbanism developed by Georges Valois's Faisceau; and official sponsorship of painting and the decorative arts in Mussolini's Italy and in Vichy France. The contributors to this volume include Walter Adamson, Matthew Affron, Mark Antliff, Emily Braun, Michele Cone, Emilio Gentile, Nancy Locke, and Marla Stone.

Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour À l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste RÉvolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and InsurgÉ.