Refiguring Modernism – serie

The news media have given us potent demonstrations of the ambiguity of ostensibly truthful representations of public events. Jordana Mendelson uses this ambiguity as a framework for the study of Spanish visual culture from 1929 to 1939—a decade marked, on the one hand, by dictatorship, civil war, and Franco’s rise to power and, on the other, by a surge in the production of documentaries of various types, from films and photographs to international exhibitions. Mendelson begins with an examination of El Pueblo Español, a model Spanish village featured at the 1929 International Exposition in Barcelona. She then discusses Buñuel’s and Dalí’s documentary films, relating them not only to French Surrealism but also to issues of rural tradition in the formation of regional and national identities. Her highly original book concludes with a discussion of the 1937 Spanish Pavilion, where Picasso’s famed painting of the Fascist bombing of a Basque town—Guernica—was exhibited along with monumental photomurals by Josep Renau. Based upon years of archival research, Mendelson’s book opens a new perspective on the cultural politics of a turbulent era in modern Spain. It explores the little-known yet rich intersection between avant-garde artists and government institutions. It shows as well the surprising extent to which Spanish modernity was fashioned through dialogue between the seemingly opposed fields of urban and rural, fine art, and mass culture.

In Beyond the Pleasure Principle, Freud observed that the life-enhancing pleasure principle seems disrupted by something internal to the psyche. He took into account the possibility of a “death instinct” bent on returning the living organism to its origin of undifferentiated matter. In Beyond Pleasure: Freud, Lacan, Barthes, Margaret Iversen uses the writing of Freud, Lacan, the Surrealists, and Roland Barthes to elaborate a theory of art beyond the pleasure principle. Lacan was in close contact with the Surrealists and, early in his career, exchanged ideas with Dalí. This book offers a detailed reading of Dalí’s “paranoiac-critical” tour de force, The Tragic Myth of Millet’s Angelus, in which he demonstrates a method of interpretation that involves the projection and analysis of paranoid fantasies. The author later discusses the aesthetic dimension of the disintegrative death drive explored in Georges Bataille’s Eroticism and in Anton Ehrenzweig’s Hidden Order of Art, both of which inspired Robert Smithson. Iversen also takes up a postwar-era narrative that examines Maya Lin’s Vietnam Veterans Memorial and Robert Smithson’s Spiral Jetty. Beyond Pleasure shows that the aesthetics of Freud’s theory continue to resonate in the contemporary art world.

“In the Space Age,” wrote Italian artist Lucio Fontana, “spatial art.” Fontana’s desire to create art in space came in response to unprecedented technological advances and contemporary fantasies of space travel. Fifteen years before Andy Warhol said he wanted to be as much a part of his times as rockets and television, Fontana’s large-scale light-and-space installations became a short-lived but ultimately influential art-world phenomenon. The artists discussed in Space-Age Aesthetics looked beyond the limits of the picture, exploring space, mass media, pop culture, nuclear power, and science fiction to connect new art to the dramatic changes taking place through the encroaching Space Age. Space-Age Aesthetics begins by addressing the imagery of space exploration as a field of mythical representation informed by Cold War politics and acted out in an expansive variety of media, from the picture press to comic books. Through persuasive arguments that reveal the many-layered interconnections between the artists’ aesthetics and theoretical responses to the dawn of an age of revolutionary technologies, this book offers new ways to think about the historical emergence of pop, conceptual, postmodern, and installation art and serves to fill the long-neglected gap in material on the post–World War II European avant-garde.

In Viennese Jewish Modernism, Abigail Gillman challenges the conventional understanding of modernism as simply a break from tradition. Until recently, the study of Jewish modernism has centered on questions of Jewish and non-Jewish identity, generally ignoring the role Judaism played in the formulation of European modernism as a whole. By focusing on the works of major Viennese authors and thinkers—Freud, Hofmannsthal, Beer-Hofmann, and Schnitzler—both within and outside the contexts of Jewish identity, Abigail Gillman provides a profound new perspective on modernism. Viennese Jewish Modernism draws together three central turn-of-the-century cultural phenomena: the breakdown of traditional modes of transmitting the past to the present; the unprecedented Jewish contribution to Viennese culture as a whole; and the development of a specifically Jewish modernism in Europe. Through her consideration of the larger questions of memorialism and memory, the construction of history and identity, and the nature of modernism, Gillman demonstrates that modernism is powerfully drawn to the past and actively engaged with tradition.

Mediating Modernity examines this probing question: “What happens to the writing of a printed text when the phonograph and cinematograph—and both names refer, not accidentally, to writing—are able to fix the hitherto unwriteable data flow of time and the visual image?” In her study of literary modernism, Stefanie Harris counters existing scholarship by studying literature as a part, rather than an opponent, of its contemporary mediascape, a term used to define not only the existing and emerging technologies that serve to record and transmit information, but also, more broadly, the means by which the world is experienced and understood.Through an interdisciplinary examination that includes close studies of Rilke, Döblin, Dos Passos, Pinthus, Musil, and Hofmannsthal—and relies on the theoretical works of Foucault, Benjamin, and particularly Friedrich Kittler—Harris proposes that literary authors in the early twentieth century, while generally considered far removed from mass culture, engaged in an inevitable, if uneasy, relationship with widespread emergent technologies. These technologies, which radically reoriented temporal and spatial orders and thus the organization of modes of understanding the world, compelled literary authors to draw literature definitively out of the poetically ideal realm and into adaptive contact with other forms of media.

Georges Seurat is best known as the painter of A Sunday on the Grande Jatte—1884, one of the most recognizable and reproduced works of art in the world. In recent years the painting has been the subject of a highly successful exhibition, the inspiration for a Broadway musical (by Stephen Sondheim), and the subject of a television program. The Grande Jatte has achieved this iconic status for a number of reasons, but is unknown to most people except as a simulacrum. The Grande Jatte is also plagued by the long-standing cliché that it embodies a “scientific” way of painting. The painting is much more complex, however; so is Seurat’s body of work as a whole. In this collection of essays, Paul Smith has assembled a broader view of Seurat’s oeuvre. Seurat Re-viewed touches on its engagement with society, gender, politics, new artists’ materials, and developments in art theory.Individual essays focus on the many facets of Seurat’s work and its context, including its use of color and its debt to color theory; its exploitation of different drawing media; its connection to the work of the artist’s contemporaries, including the poets Jules Laforgue and Stéphane Mallarmé; and its concern with nineteenth-century social issues. The contributions also show important links among the Grande Jatte, literary Symbolism, and the development of future Modernist practices. The book amounts to a major reevaluation of Seurat’s art in the culture of the late nineteenth century. In addition to the editor, the contributors are Anthea Callen, S. Hollis Clayson, Jonathan Crary, Joan U. Halperin, Richard Hobbs, John House, Brendan Prendeville, Georges Roque, and Richard Shiff.

Games and play occupied a central, if misunderstood, role in modern art in the twentieth century. Many art-historical narratives have downplayed the ways in which artists returned to play and to games as analogues to art practice, as metaphors for creativity, or as models for art criticism. The essays collected in this volume investigate the fundamental importance of supposedly nonserious activity and attend to the ways in which artists used play and games in order to reconsider their practice and to expand their critical strategies. With subjects ranging from early twentieth-century manifestations of games and play in Surrealism, Duchamp, Picasso, and Bauhaus photography to their repercussions in Fluxus, performance, public practice, and new media, these essays establish the diversity and potential of games and play and point toward an alternate trajectory in the development of modern art.Aside from the editor, the contributors are Florencia Bazzano-Nelson, Jon Cates, Mary Ann Caws, Susan Laxton, Claudia Mesch, Kevin Moore, Gavin Parkinson, Anne-Marie Schleiner, Owen F. Smith, Ellen Handler Spitz, Stephanie L. Taylor, and Debra Wacks.

All too often, the historical avant-garde is taken to be incommensurate with and antithetical to the world inhabited by the museum. In The Curatorial Avant-Garde, by contrast, Adam Jolles demonstrates the surrealists’ radical transformation of the ways in which spectators encountered works of art between the wars. From their introduction in Paris in 1925, surrealist exhibitions dissolved the conventional boundaries between visual media, language, and the space of public display. This intrusion—by a group of amateur curators, with neither formal training nor professional experience in museums or galleries—ultimately altered the way in which surrealists made, displayed, and promoted their own art. Through interdisciplinary analyses of particular exhibitions and works of art in relation to the manner in which they were displayed, Jolles addresses this public face of surrealism. He directs attention to the venues, the contemporary debates those venues engendered, and the critical discourses in which they participated. In so doing, he shines new light on the movement’s artistic and intellectual development, revealing both the political stakes attached to surrealism within the historical context of interwar Europe and the movement’s instrumental role in the trajectory of modernism.

The writers and artists of the Spanish avant-garde, enthralled with the streamlined, mass-produced commodities of the Machine Age, incorporated these objects into their literary and visual works. In doing so, they launched a broad inquiry into the relations between mind and matter, people and things, words and world. In Modernism and Its Merchandise, Juli Highfill traces that dissonant but productive line of inquiry by focusing on the objects of obsession for the Spanish vanguardists—starting with the fruit bowls of cubist still life; continuing with the merchandise, machines, and fashions of the 1920s; and concluding with objects of ruin and decay. The trajectory moves from the natural to the technological domains, from the newfangled to the outmoded. Throughout this study, objects appear ever in motion, engaging and altering their human subjects—whether as objects of exchange, as prosthetic organs, or as triggers for powerful affective responses, such as appetite, taste, and disgust. The insights that arise from these encounters with material things anticipate the knowledge emerging today in the fields of material culture, technology studies, and network theory.

The writers and artists of the Spanish avant-garde, enthralled with the streamlined, mass-produced commodities of the Machine Age, incorporated these objects into their literary and visual works. In doing so, they launched a broad inquiry into the relations between mind and matter, people and things, words and world. In Modernism and Its Merchandise, Juli Highfill traces that dissonant but productive line of inquiry by focusing on the objects of obsession for the Spanish vanguardists—starting with the fruit bowls of cubist still life; continuing with the merchandise, machines, and fashions of the 1920s; and concluding with objects of ruin and decay. The trajectory moves from the natural to the technological domains, from the newfangled to the outmoded. Throughout this study, objects appear ever in motion, engaging and altering their human subjects—whether as objects of exchange, as prosthetic organs, or as triggers for powerful affective responses, such as appetite, taste, and disgust. The insights that arise from these encounters with material things anticipate the knowledge emerging today in the fields of material culture, technology studies, and network theory.

Though the work of Irish writers has been paramount in conventional accounts of literary modernism, Ireland itself only rarely occupies a meaningful position in accounts of modernism’s historical trajectory. With an itinerary moving not simply among Dublin, Belfast, and London but also Paris, New York, Addis Ababa, Rome, Berlin, Geneva, and the world’s radio receivers, Ireland and the Problem of Information examines the pivotal mediations through which social knowledge was produced in the mid-twentieth century. Organized as a series of cross-fading case studies, the book argues that an expanded sphere of Irish cultural production should be read as much for what it indicates about practices of intermedial circulation and their consequences as for what it reveals about Irish writing around the time of the Second World War. In this way, it positions the “problem of information” as, first and foremost, an international predicament, but one with particular national implications for the Irish field.

Though the work of Irish writers has been paramount in conventional accounts of literary modernism, Ireland itself only rarely occupies a meaningful position in accounts of modernism’s historical trajectory. With an itinerary moving not simply among Dublin, Belfast, and London but also Paris, New York, Addis Ababa, Rome, Berlin, Geneva, and the world’s radio receivers, Ireland and the Problem of Information examines the pivotal mediations through which social knowledge was produced in the mid-twentieth century. Organized as a series of cross-fading case studies, the book argues that an expanded sphere of Irish cultural production should be read as much for what it indicates about practices of intermedial circulation and their consequences as for what it reveals about Irish writing around the time of the Second World War. In this way, it positions the “problem of information” as, first and foremost, an international predicament, but one with particular national implications for the Irish field.

This provocative study argues that some of the most inventive artwork of the 1890s was strongly influenced by the methods of experimental science and ultimately foreshadowed twentieth-century modernist practices.Looking at avant-garde figures such as Maurice Denis, Édouard Vuillard, August Strindberg, and Edvard Munch, Allison Morehead considers the conjunction of art making and experimentalism to illuminate how artists echoed the spirit of an increasingly explorative scientific culture in their work and processes. She shows how the concept of “nature’s experiments”—the belief that the study of pathologies led to an understanding of scientific truths, above all about the human mind and body—extended from the scientific realm into the world of art, underpinned artists’ solutions to the problem of symbolist form, and provided a ready-made methodology for fin-de-siècle truth seekers. By using experimental methods to transform symbolist theories into visual form, these artists broke from naturalist modes and interrogated concepts such as deformation, automatism, the arabesque, and madness to create modern works that were radically and usefully strange.Focusing on the scientific, psychological, and experimental tactics of symbolism, Nature’s Experiments and the Search for Symbolist Form demystifies the avant-garde value of experimentation and reveals new and important insights into a foundational period for the development of European modernism.

This provocative study argues that some of the most inventive artwork of the 1890s was strongly influenced by the methods of experimental science and ultimately foreshadowed twentieth-century modernist practices.Looking at avant-garde figures such as Maurice Denis, Édouard Vuillard, August Strindberg, and Edvard Munch, Allison Morehead considers the conjunction of art making and experimentalism to illuminate how artists echoed the spirit of an increasingly explorative scientific culture in their work and processes. She shows how the concept of “nature’s experiments”—the belief that the study of pathologies led to an understanding of scientific truths, above all about the human mind and body—extended from the scientific realm into the world of art, underpinned artists’ solutions to the problem of symbolist form, and provided a ready-made methodology for fin-de-siècle truth seekers. By using experimental methods to transform symbolist theories into visual form, these artists broke from naturalist modes and interrogated concepts such as deformation, automatism, the arabesque, and madness to create modern works that were radically and usefully strange.Focusing on the scientific, psychological, and experimental tactics of symbolism, Nature’s Experiments and the Search for Symbolist Form demystifies the avant-garde value of experimentation and reveals new and important insights into a foundational period for the development of European modernism.

This study analyzes the impact of color-making technologies on the visual culture of nineteenth-century France, from the early commercialization of synthetic dyes to the Lumière brothers’ perfection of the autochrome color photography process. Focusing on Impressionist art, Laura Anne Kalba examines the importance of dyes produced in the second half of the nineteenth century to the vision of artists such as Edgar Degas, Pierre-Auguste Renoir, and Claude Monet.The proliferation of vibrant new colors in France during this time challenged popular understandings of realism, abstraction, and fantasy in the realms of fine art and popular culture. More than simply adding a touch of spectacle to everyday life, Kalba shows, these bright, varied colors came to define the development of a consumer culture increasingly based on the sensual appeal of color. Impressionism—emerging at a time when inexpensively produced color functioned as one of the principal means by and through which people understood modes of visual perception and signification—mirrored and mediated this change, shaping the ways in which people made sense of both modern life and modern art.Demonstrating the central importance of color history and technologies to the study of visuality, Color in the Age of Impressionism adds a dynamic new layer to our understanding of visual and material culture.

In Soviet Salvage, Catherine Walworth explores how artists on the margins of the Constructivist movement of the 1920s rejected “elitist” media and imagined a new world, knitting together avant-garde art, imperial castoffs, and everyday life.Applying anthropological models borrowed from Claude Lévi-Strauss, Walworth shows that his mythmaker typologies—the “engineer” and “bricoleur”—illustrate, respectively, the canonical Constructivists and artists on the movement’s margins who deployed a wide range of clever make-do tactics. Walworth explores the relationships of Nadezhda Lamanova, Esfir Shub, and others with Constructivists such as Aleksei Gan, Varvara Stepanova, and Aleksandr Rodchenko. Together, the work of these artists reflected the chaotic and often contradictory zeitgeist of the decade from 1918 to 1929 and redefined the concept of mass production. Reappropriated fragments of a former enemy era provided a wide range of play and possibility for these artists, and the resulting propaganda porcelain, film, fashion, and architecture tell a broader story of the unique political and economic pressures felt by their makers.An engaging multidisciplinary study of objects and their makers during the Soviet Union’s early years, this volume highlights a group of artists who hover like free radicals at the border of existing art-historical discussions of Constructivism and deepens our knowledge of Soviet art and material culture.

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art.The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art.Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking.In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art.The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art.Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking.In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior.Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges.Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior.Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges.Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

Surveying the Avant-Garde examines the art and literature of the Americas in the early twentieth century through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde.Questions such as “How do you imagine Latin America?” and “What should American art be?” issued by avant-garde magazines like Imán, a Latin American periodical based in Paris, and Cuba’s Revista de Avance demonstrate how editors, writers, and readers all grappled with the concept of “America,” particularly in relationship to Europe, and how the questionnaire became a structuring device for reflecting on their national and aesthetic identities in print. Through an analysis of these questionnaires and their responses, Lori Cole reveals how ideas like “American art,” as well as “modernism” and “avant-garde,” were debated at the very moment of their development and consolidation. Unlike a manifesto, whose signatories align with a single polemical text, the questionnaire produces a patchwork of responses, providing a composite and sometimes fractured portrait of a community. Such responses yield a self-reflexive history of the era as told by its protagonists, which include figures such as Gertrude Stein, Alfred Stieglitz, Jean Toomer, F. T. Marinetti, Diego Rivera, and Jorge Luis Borges.The book traces a genealogy of the genre from the Renaissance paragone, or “comparison of the arts,” through the rise of enquêtes in the late nineteenth century, up to the contemporary questionnaire, which proliferates in art magazines today. By analyzing a selection of surveys issued across the Atlantic, Cole indicates how they helped shape artists’ and writers’ understanding of themselves and their place in the world.Based on extensive archival research, this book reorients our understanding of modernism as both hemispheric and transatlantic by narrating how the artists and writers of the period engaged in aesthetic debates that informed and propelled print communities in Europe, the United States, and Latin America. Scholars of modernism and the avant-garde will welcome Cole’s original and compellingly crafted work.

Surveying the Avant-Garde examines the art and literature of the Americas in the early twentieth century through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde.Questions such as “How do you imagine Latin America?” and “What should American art be?” issued by avant-garde magazines like Imán, a Latin American periodical based in Paris, and Cuba’s Revista de Avance demonstrate how editors, writers, and readers all grappled with the concept of “America,” particularly in relationship to Europe, and how the questionnaire became a structuring device for reflecting on their national and aesthetic identities in print. Through an analysis of these questionnaires and their responses, Lori Cole reveals how ideas like “American art,” as well as “modernism” and “avant-garde,” were debated at the very moment of their development and consolidation. Unlike a manifesto, whose signatories align with a single polemical text, the questionnaire produces a patchwork of responses, providing a composite and sometimes fractured portrait of a community. Such responses yield a self-reflexive history of the era as told by its protagonists, which include figures such as Gertrude Stein, Alfred Stieglitz, Jean Toomer, F. T. Marinetti, Diego Rivera, and Jorge Luis Borges.The book traces a genealogy of the genre from the Renaissance paragone, or “comparison of the arts,” through the rise of enquêtes in the late nineteenth century, up to the contemporary questionnaire, which proliferates in art magazines today. By analyzing a selection of surveys issued across the Atlantic, Cole indicates how they helped shape artists’ and writers’ understanding of themselves and their place in the world.Based on extensive archival research, this book reorients our understanding of modernism as both hemispheric and transatlantic by narrating how the artists and writers of the period engaged in aesthetic debates that informed and propelled print communities in Europe, the United States, and Latin America. Scholars of modernism and the avant-garde will welcome Cole’s original and compellingly crafted work.

Djuna Barnes once said that “there is always more surface to a shattered object than a whole object,” and the statement is provocative when considering her own writing and art. Arriving as an accomplished writer and journalist in 1920s Paris, Barnes produced an eclectic body of work whose objects and surfaces continue to fascinate readers. In this volume, a series of internationally renowned scholars reassess both Barnes and modernism through a close examination of her prose, poetry, journalism, visual art, and drama.From the modernist classic Nightwood to the late verse play The Antiphon, Barnes’s distinctive voice has long resisted any easy assimilation into specific groupings of authors or texts. Responding to expansions of canons and critical questions that have shaped modernist studies since the late twentieth century, the chapters in this volume bring new thinking to her full oeuvre and collectively demonstrate that the study of modernism necessarily includes the study of Barnes. The essays show Barnes’s significant contributions to twenty-first-century discourses on topics such as the politics of print culture, the representation of animals and the human, queer aesthetics, modernist criticism, authorship, style, affect, and translation between media.Featuring an afterword by Peter Nicholls and a comprehensive bibliography, Shattered Objects provides a timely assessment of Barnes and considers the implications of reading her critically as an important modernist writer and artist. It will be welcomed by scholars of literature, art history, and the modernist era.In addition to the editors, contributors to this volume are Daniela Caselli, Bruce Gardiner, Alex Goody, Melissa Jane Hardie, Tyrus Miller, Drew Milne, Peter Nicholls, Rachel Potter, Julie Taylor, and Joanne Winning.

Djuna Barnes once said that “there is always more surface to a shattered object than a whole object,” and the statement is provocative when considering her own writing and art. Arriving as an accomplished writer and journalist in 1920s Paris, Barnes produced an eclectic body of work whose objects and surfaces continue to fascinate readers. In this volume, a series of internationally renowned scholars reassess both Barnes and modernism through a close examination of her prose, poetry, journalism, visual art, and drama.From the modernist classic Nightwood to the late verse play The Antiphon, Barnes’s distinctive voice has long resisted any easy assimilation into specific groupings of authors or texts. Responding to expansions of canons and critical questions that have shaped modernist studies since the late twentieth century, the chapters in this volume bring new thinking to her full oeuvre and collectively demonstrate that the study of modernism necessarily includes the study of Barnes. The essays show Barnes’s significant contributions to twenty-first-century discourses on topics such as the politics of print culture, the representation of animals and the human, queer aesthetics, modernist criticism, authorship, style, affect, and translation between media.Featuring an afterword by Peter Nicholls and a comprehensive bibliography, Shattered Objects provides a timely assessment of Barnes and considers the implications of reading her critically as an important modernist writer and artist. It will be welcomed by scholars of literature, art history, and the modernist era.In addition to the editors, contributors to this volume are Daniela Caselli, Bruce Gardiner, Alex Goody, Melissa Jane Hardie, Tyrus Miller, Drew Milne, Peter Nicholls, Rachel Potter, Julie Taylor, and Joanne Winning.

This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today.In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century.Accessibly written and analytically sophisticated, Art and Form opens exciting new paths of inquiry into the meaning and lasting importance of formalism and its ties to modernism. It will be invaluable for scholars and enthusiasts of art history and visual culture.

This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today.In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century.Accessibly written and analytically sophisticated, Art and Form opens exciting new paths of inquiry into the meaning and lasting importance of formalism and its ties to modernism. It will be invaluable for scholars and enthusiasts of art history and visual culture.

Drawing Degree Zero examines a pivotal moment in the history of drawing, when the medium was disengaged from its connoisseurial associations and positioned at the forefront of contemporary art. From Mel Bochner’s seminal exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art of 1966 to the Museum of Modern Art’s major survey Drawing Now ten years later, Anna Lovatt documents this period of restless artistic experimentation and fierce political ambition.Traditionally considered a preparatory or subsidiary practice, drawing’s notational, provisional, and incidental qualities accrued new value in the context of post-Minimal and Conceptual art. Considering the work of Bochner, Sol LeWitt, Rosemarie Castoro, Dorothea Rockburne, and Richard Tuttle, Lovatt explores the strategies these artists used to confound long-standing presumptions about drawing, rendering it systematic rather than autographic, public rather than private, and conceptually rigorous rather than manually dexterous. Drawing Degree Zero argues that these artists pursued a neutral, anonymous mode of inscription analogous to Roland Barthes’s concept of “writing degree zero.”A lively examination of the resurgence of interest in drawing, Drawing Degree Zero highlights the medium’s ability to foreground issues of authorship, process, location, and participation that remain fundamental to contemporary art. Scholars and art aficionados will welcome Lovatt’s insights.

The arts drove a seismic cultural shift in mid-twentieth-century Tunis, as women entered ateliers and workshops previously dominated by men and as collaborations across art schools destabilized the boundary between art and craft. This volume uses the “Tunisian École”—a configuration of artists, art students, professors, and artisans from the Tunis School, the School of Fine Arts, and the National Office of Handicraft engaged in the unity of “fine” and “decorative” art—to explore the ways in which these forces reworked colonial concepts to reimagine artistic categories and integrate feminized art forms in a program of social uplift.Focusing on the gendering of tapestry and “decorative” arts, Jessica Gerschultz investigates how art and feminism were entwined with socialist modernizing projects, from the relationship between Tunisian nationalist discourses and the figure of the woman artist to the role of art education and industry in transforming and institutionalizing hierarchies among women. In doing so, she positions women’s weaving in the context of state feminism and Tunisian socialism, arguing that a shared aesthetic and political philosophy oriented toward female creativity not only underpinned multiple forms of art and textile production but also stood as a potent metaphor for statecraft.Important and wholly original, this study of the artist-as-craftsperson, told from the standpoint of artists in an Arab African country, recuperates a feminized, marginalized category within aesthetic modernism and furthers our understanding of the relationships among labor, gender, and artistic and creative practices in modern Tunisia.

The Netherlands Carillon stands out in the American memorial landscape. Situated between Arlington National Cemetery and the Marine Corps War Memorial, the modernist design of this 127-foot steel bell tower is strangely at odds with its surroundings, much in the same way that its prominent place is at odds with its absence in American memory. In this book, Diederik Oostdijk reveals the intriguing history of this major monument hidden in plain sight.Given to the United States in the 1950s by the Dutch government as a gesture of gratitude for America’s role in the Dutch liberation during World War II and for the Marshall Plan aid that helped rebuild the Dutch economy, the carillon owes its conspicuous placement to the Cold War. Oostdijk traces the history of this monument, from its creation and the pageantry surrounding its presentation through its fall into disrepair and plans for its renewal. In so doing, he resolves the paradox of the carillon’s placement in Arlington and unearths a fascinating and compelling story of diplomacy and humanity.Interweaving art history, campanology, landscape architecture, literature, musicology, and diplomatic history, Bells for America recounts how the Netherlands and the United States reconstructed their national identities and fostered an international relationship in the postwar era through public art.