HART 1111 - Art and Controversy

This Companion has long been a standard introduction to the field. This second edition is updated and enhanced with four new chapters, addressing the key themes being researched, taught and studied in modernism. Its interdisciplinary approach is central to its success as it brings together readings of the many varieties of modernism. Chapters address the major literary genres, the intellectual, religious and political contexts, and parallel developments in film, painting and music. The catastrophe of the First World War, the emergence of feminism, the race for empire, the conflict among classes: the essays show how these events and circumstances shaped aesthetic and literary experiments. In doing so, they explain clearly both the precise formal innovations in language, image, scene and tone, and the broad historical conditions of a movement that aspired to transform culture.

This reference work boasts worldwide coverage of modern and contemporary art from 1900 to the present day. It features A to Z entries on movements, styles, techniques, artists, critics, schools, and galleries.

The Routledge Companion to Art and Politics offers a thorough examination of the complex relationship between art and politics, and the many forms and approaches the engagement between them can take.

This collection of essays interrogates the most contested social, political, and aesthetic concept in Chicana/o cultural studies--resistance. If Chicana/o culture was born of resistance amid assimilation and nationalistic forces, how has it evolved into the twenty-first century? This groundbreaking volume redresses the central idea of resistance in Chicana/o visual cultural expression through nine clustered discussions, each coordinating scholarly, critical, curatorial, and historical contextualizations alongside artist statements and interviews. Landmark artistic works--illustrations, paintings, sculpture, photography, film, and television--anchor each section. Contributors include David Avalos, Mel Casas, Ester Hernández, Nicholas Herrera, Luis Jiménez, Ellen Landis, Yolanda López, Richard Lou, Delilah Montoya, Laura Pérez, Lourdes Portillo, Luis Tapia, Chuy Treviño, Willie Varela, Kathy Vargas, René Yañez, Yvonne Yarbro-Bejarano, and more. Cara a cara, face-to-face, encounters across the collection reveal the varied richness of resistant strategies, movidas, as they position crucial terms of debate surrounding resistance, including subversion, oppression, affirmation, and identification. The essays in the collection represent a wide array of perspectives on Chicana/o visual culture. Editors Scott L. Baugh and Víctor A. Sorell have curated a dialog among the many voices, creating an important new volume that redefines the role of resistance in Chicana/o visual arts and cultural expression.

In this thoughtful and lucid analysis, framed by their contention that 'cultural production is one way in which society gives voice to racism,' Carol Tator, Frances Henry, and Winston Matthis examine how six controversial Canadian cultural events have given rise to a new 'radical' or 'critical' multiculturalism. Mainstream culture has increasingly become the locus for challenge by racial minorities. Beginning with the Royal Ontario Museum's Into the Heart of Africa exhibition, and following through with discussions of Show Boat, Miss Saigon, the exhibition of the Barnes Collection at the Art Gallery of Ontario, the 'Writing Thru Race' conference in Vancouver, and the ill-fated attempts to acquire a licence for a black/dance radio station in Toronto, the authors examine manifestations of racism in Canada's cultural production over the last decade. A 'radical' multiculturalism, they argue, is difference as a politicized force, and arises whenever cultural imperialism is challenged.

Contemporary Curating, Artistic Reference and Public Reception undertakes a unique critical survey and analysis of prevailing group exhibition-making practices in Europe, the UK and North America. Drawing on curatorial literature and two in-depth case studies of group exhibitions, Bertrand advocates for a mode of curatorial practice that secures the content of artworks, in contrast to prevailing open-ended, indeterminate approaches. Proposing a third exhibition type beyond the current binary exhibition ontology that opposes art historical narratives to curatorial installations or Gesamtkunstwerk, the book directly tackles the enduring critique of curating as a mediating activity that produces sameness in group-exhibition contexts by establishing artistic equivalences. The book relies on the principles of analytical philosophy to assess how different exhibition-making approaches fix reference and determine artistic reception, reintroducing a standard to evaluate exhibitions beyond personal taste and thematic coherence. Bertrand ultimately proposes an alternative conception of practice that affirms the renewed relevance of the institutional group show in the present context. Contemporary Curating, Artistic Reference and Public Reception will be of interest to academics, researchers and students working in museum and curatorial studies, visual cultures, art theory and art history programmes. Art theorists and critics, as well as curators of contemporary art with a research-based practice, should also find much to interest them within the pages of the book.

A series of dialogues with the world's leading artists. Grande believes that art can teach us new ways to see the world and that ultimately it can help us to save the planet. Many of these artists are indigenous or come from marginalized cultures and Grande argues that the traditional centers of the art world are now feeding on the unique perspectives provided by the margins.

Interviews with the artists who create public art and the people whose lives are changed by it. By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art--

To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future.

A major issue in the relation of art to the rest of society is the question of how art penetrates politics. From the perspective of most art scholars, this is a question of aesthetics—whether politics necessarily pollutes and debases the quality of the arts. From the perspective of social science, it has been primarily a question of meaning—how political messages are conveyed through artistic media.

It is thought that every work of art possesses multiple interpretations, depending on each viewer. Analyzing personal assessments of artwork can help enable us to gain an understanding of one another, as well as broaden our own opinions and views. Interpretation of Visual Arts Across Societies and Political Culture: Emerging Research and Opportunities is a detailed reference source that breaks down the ways art can be evaluated, and addresses how this type of analysis can influence an array of social groups and regions. Highlighting relevant topics such as artistic impression, modern art, culture wars, and freedom of expression, this publication is an ideal resource for artists, academics, students, and researchers that are interested in expanding their knowledge of the arts.

Introduction / Elizabeth C. Childs -- The censorship of images in Reformation Germany, 1520-1560 / Christiane Andersson -- Aretino, the public, and the censorship of Michelangelo's Last judgment / Bernadine Barnes -- Veronese and the Inquisition: the geopolitical context / Paul H.D. Kaplan -- Goya and the censors / Janis A. Tomlinson -- The body impolitic: censorship and the caricature of Honoré Daumier / Elizabeth C. Childs -- Manet's Maximilian: censorship and the salon / John House -- "Chambers of horrors of art" and "degenerate art": on censorship in the visual arts in Nazi Germany / Christoph Zuschlag -- Seeing red: the Dallas museum in the McCarthy era / Francine Carraro -- Censorship and controversy in the career of Edward Kienholz / Gerald Silk -- Art censorship in socialist China: a do-it-yourself system / Jerome Silbergeld -- David Wojnarowicz: a portrait of the artist as X-ray technician / Peter F. Spooner -- The trials of Robert Mapplethorpe / Steven C. Dubin.

Monuments around the world have become the focus of intense and sustained discussions, activism, vandalism, and removal. Since the convulsive events of 2015 and 2017, during which white supremacists committed violence in the shadow of Confederate symbols, and the 2020 nationwide protests against racism and police brutality, protesters and politicians in the United States have removed Confederate monuments, as well as monuments to historical figures like Christopher Columbus and Dr. J. Marion Sims, questioning their legitimacy as present-day heroes that their place in the public sphere reinforces. The essays included in this anthology offer guidelines and case studies tailored for students and teachers to demonstrate how monuments can be used to deepen civic and historical engagement and social dialogue. Essays analyze specific controversies throughout North America with various outcomes as well as examples of monuments that convey outdated or unwelcome value systems without prompting debate.

Since its installation at and subsequent removal from New York CityOCOs Federal Plaza, noted sculptor Richard SerraOCOs Tilted Arc has been a touchstone for debates over the role of public art. Installed in 1981, the 10-foot-high, 120-foot-long curved wall of Cor-Ten self-rusting steel instantly became a magnet for criticism. Harriet F. Senie explores the history of Tilted Arc, including its 1979 commission and the heated public hearings that eventually led to its removal in 1989. She examines the tactics of those opposed to the sculpture and the mediaOCOs superficial and sensational coverage of the controversy, reframing the dialogue in terms of public art, public space, and public policy."