The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.
A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 is the first publication to deal with the postwar avant-garde in the Nordic countries from a transnational perspective including all the arts and a broader cultural and political context.
A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first work to consider all the arts and to discuss the role of the avant-garde not only in aesthetic terms but in its cultural and political context.
A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 is the first publication to deal with the avant-garde in the Nordic countries at the start of the twentieth century. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, painting as well as photography, architecture and design, film, radio, and performing arts like music, theatre and dance. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective which includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field, but in a broader cultural context. It examines the social and cultural context of the avant-garde: its media, its locations, its reception and audiences, the transmissions between Scandinavia and Europe, and its cultural consequences. The essays trace the connections between the avant-garde and the cultural discourses of contemporary currents such as revolutionary socialism, radical nationalism and occultism, and discuss questions of gender, ideology and politics, geographical location and technological innovation. The cultural history thus focuses on the role of the avant-garde in shaping the ideas of cultural modernity in the Nordic countries.
Western and Northern European Writing on American Art 1945 to 1990
Author: Claudia Hopkins
Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.
Transcultural identities and art-making in a globalised world
Author: Anne Ring Petersen
Publisher: Manchester University Press
This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration.
Sixties Europe examines the border-crossing uprisings of the 1960s in Europe on both sides of the Cold War divide. Placing European developments within a global context formed by Third World liberation struggles and Cold War geopolitics, Timothy Scott Brown highlights the importance of transnational exchanges across bloc boundaries. New Left ideas and cultural practices easily crossed bloc boundaries, but Brown demonstrates that the 1960s in Europe did not simply unfold according to a normative western model. Everywhere, innovations in the arts and popular culture synergized radical politics as advocates of workers' democracy emerged to pursue longstanding demands predating the Cold War divide. Tracing the development of a distinctive blend of cultural and political activism across diverse national settings, Sixties Europe examines an important, historically-recent attempt to address unresolved questions about human social organization that remain relevant in the present, and it offers an original history of Europe across a transformative decade.
Behind the Lens of the Greatest Cycling Film of All Time
Author: William Fotheringham
Publisher: Random House
Category: Sports & Recreation
The Paris-Roubaix Classic. 273 kilometres of torment across the bone-crunching pavé of northern France. In 1976 the celebrated Danish film director, Jørgen Leth, embarked on an ambitious project to capture the spirit of this spectacular and cruel one-day race. The resulting film, A Sunday in Hell, has become the most admired cycling documentary of all time, and its revolutionary camera and sound techniques have forever changed the way the sport is viewed on screen. The film centres around legends including Eddie Merkx, Roger De Vlaeminck, Freddie Maertens and Francesco Moser, capturing not just their experiences from the saddle, but also the mood of a nation and its relationship with the most punishing of the Spring Classics. Sunday in Hell looks at the men, the method and the places behind the film. It observes the creativity of Leth and his collaborators, explores the lives of riders such as unlikely winner Marc Demeyer and revisits locations which have changed little to this day.
Transnational Perspecives on Feminism and Art, 1960–1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book’s central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.