Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
184,435
result(s) for
"Political art"
Sort by:
The art of controversy : political cartoons and their enduring power
\"A lavishly illustrated, witty, and learned look at the awesome power of the political cartoon throughout history to enrage, provoke,
Book
The Vienna School of Art History
Matthew Rampley’s The Vienna School of Art History is the first book in over seventy-five years to study in depth and in context the practices of art history from 1847, the year the first teaching position in the discipline was created, to 1918, the collapse of Austria-Hungary. It traces the emergence of art history as a discipline, the establishment of norms of scholarly enquiry, and the involvement of art historians in wider debates about the cultural and political identity of the monarchy. While Rampley also examines the formation of art history elsewhere in Austria-Hungary, the so-called Vienna School plays the central role in the study. Located in the Habsburg imperial capital, Vienna art historians frequently became entangled in debates that were of importance to art historians elsewhere in the Empire, and the book pays particular attention to these areas of overlapping interest. The Vienna School was well known for its methodological innovations and this book analyzes its contributions in this area. Rampley focuses most fully, however, on the larger political and ideological context of the practice of art history, in particular the way in which art historical debates served as proxies for wider arguments over the political, social, and cultural life of the Habsburg Empire.
eBook
The design of dissent
Dissent is an essential part of keeping democratic societies healthy; for citizens to voice our opinion is not only our privilege but our responsibility. Without this dialogue, the backbone of what we have fought so desperately for could easily crumble. Over the past decades, the number of democratic societies has increased around the globe, and there is a heightened awareness of increasing conflicts and problems that affect our everyday lives. With the Middle East conflict, the war on terrorism, and financial and environmental crises, people's sense of safety, power, and representation has diminished in part because they feel they have no voice. Designers, however, use their skills to communicate their dissent, even more so now with the World Wide Web and the increasing ease of distributing posters and other printed materials. This book examines graphic work focusing on social and political concerns from around the globe.--From publisher description.
Book
We Make Each Other Beautiful
We Make Each Other Beautiful
focuses on woman of color and queer of color artists and
artist collectives who engage in direct political action as a part
of their art practice. Defined by public protest,
rule-breaking, rebellion, and resistance to governmental and
institutional abuse, direct-action \"artivism\" draws on the aims,
radical spirit, and tactics of the civil rights and feminist
movements and on the struggles for disability rights, queer rights,
and immigrant rights to seek legal and social change.
Yxta Maya Murray traces the development of artivism as a
practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and
Marsha P. Johnson. She also studies its role in transforming law
and society. We Make Each Other Beautiful profiles the
work and lives of four contemporary artivists -Carrie Mae Weems,
Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown-and the
artivist collective Drawn Together, combining new oral histories
with sharp analyses of how their diverse and expansive artistic
practices bear important aesthetic and politicolegal meanings that
address a wide range of injustices.
eBook
Journalism and eyewitness images : digital media, participation, and conflict
\"Building on the vast research conducted on war and media since the 1970s, scholars are now studying the digital transformation of the production of news. Little scholarly attention has been paid, however, to non-professional, eyewitness visuals, even though this genre holds a still greater bearing on the way conflicts are fought, communicated, and covered by the news media. This volume examines the power of new technologies for creating and disseminating images in relation to conflicts. Mortensen presents a theoretical framework and uses case studies to investigate the impact of non-professional images with regard to essential issues in today's media landscape: including new media technologies and democratic change, the political mobilization and censorship of images, the ethics of spectatorship, and the shifting role of the mainstream news media in the digital age\"-- Provided by publisher.
Book
Political aesthetics of the Armenian avant-garde
This book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent transformations from the late 1980s to 2004. It explores the emergence of 'contemporary art' in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia and points towards its limitations. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.
eBook
Art and the politics of visibility : contesting the global, local and the in-between
In an era of unprecedented global mobility, artists face unique challenges. How does cultural context affect the interpretation of art? What makes artists work transnational or national in character, and how will their visibility be impacted by either label? Art and the Politics of Visibility questions these dynamics, asking how the dissemination of visual culture on a global scale affects art and its institutions. Taking Shanghai-based artist Yang Fudong's practice as a point of departure, this volume focuses on how politically charged images produced in contemporary art, cinema, news media and fashion become widely consumed or marginalised. Through case studies of artists and institutions including Isaac Julien, Wafaa Bilal, Jeremy Deller and the itinerant biennale Manifesta, the book illuminates the relationship between visibility, politics and identity in contemporary art.
Book
Portable Borders
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century. Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez \"ERRE.\" Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
eBook
Visual peace : images, spectatorship, and the politics of violence
\"This unique study offers a political analysis of the relationship between visual representations and the politics of violence both nationally and internationally. It emphasizes the spectator and his or her own involvement in, responsibility for, and potential responses to the conditions depicted in given images. Through a series of case studies which engage with visual representations of the politics of violence, such as the aftermath of the 1994 genocide in Rwanda and the visualization of colonial memory, it analyzes the relationship between visibility and political agency and elaborates the extent to which people who have normally been subjects of the image production of others can become agents of their own image. This book's comprehensive analysis of different genres including photography, graphic novels, comics and paintings introduces a new research agenda for the emerging field of visual peace. \"-- Provided by publisher.
Book
Heaven, Hell, and Everything in Between
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas' preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
eBook