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This book investigates the role that the visual and performing arts play in our experience and understanding of the past. Expanding upon longstanding concerns in cultural history about the relation of text and image, the book highlights the distinction between enactive and cognitive memory and the implications of this for artists and their publics.
How does a country in the process of becoming a world power prepare its citizens for the responsibilities of global leadership? In Improvised Continent, Richard Cándida Smith answers this question by illuminating the forgotten story of how, over the course of the twentieth century, cultural exchange programs, some run by the government and others by philanthropies and major cultural institutions, brought many of the most important artists and writers of Latin America to live and work in the United States. Improvised Continent is the first book to focus on cultural exchange inside the United States and how Americans responded to Latin American writers and artists. Moving masterfully between ...
"The most important study of art in California, particularly in terms of avant-garde activity around mid-century, that I am aware of."--Paul Karlstrom, Smithsonian Institution
"The most important study of art in California, particularly in terms of avant-garde activity around mid-century, that I am aware of."--Paul Karlstrom, Smithsonian Institution "The most important study of art in California, particularly in terms of avant-garde activity around mid-century, that I am aware of."--Paul Karlstrom, Smithsonian Institution
More than one hundred years after her death, Elizabeth Cady Stanton still stands—along with her close friend Susan B. Anthony—as the major icon of the struggle for women’s suffrage. In spite of this celebrity, Stanton’s intellectual contributions have been largely overshadowed by the focus on her political activities, and she is yet to be recognized as one of the major thinkers of the nineteenth century. Here, at long last, is a single volume exploring and presenting Stanton’s thoughtful, original, lifelong inquiries into the nature, origins, range, and solutions of women’s subordination. Elizabeth Cady Stanton, Feminist as Thinker reintroduces, contextualizes, and critiques Stan...
From 1921 until 1948, Paul J. Sachs (1878–1965) offered a yearlong program in art museum training, “Museum Work and Museum Problems,” through Harvard University’s Fine Arts Department. Known simply as the Museum Course, the program was responsible for shaping a professional field—museum curatorship and management—that, in turn, defined the organizational structure and values of an institution through which the American public came to know art. Conceived at a time of great museum expansion and public interest in the United States, the Museum Course debated curatorial priorities and put theory into practice through the placement of graduates in museums big and small across the land. In this book, authors Sally Anne Duncan and Andrew McClellan examine the role that Sachs and his program played in shaping the character of art museums in the United States in the formative decades of the twentieth century. The Art of Curating is essential reading for museum studies scholars, curators, and historians.
When does the pursuit of self-interest go too far, lapsing into morally unacceptable behaviour? Until the unprecedented events of the recent global financial crisis economists often seemed unconcerned with this question, even suggesting that "greed is good." A closer look, however, suggests that greed and lust are generally considered good only for men, and then only outside the realm of family life. The history of Western economic ideas shows that men have given themselves more cultural permission than women for the pursuit of both economic and sexual self-interest. Feminists have long contested the boundaries of this permission, demanding more than mere freedom to act more like men. Women ...
For a period of over seventy years after the 1917 revolutions in Russia, talking about the past, either political or personal, became dangerous. The new policy of glasnost at the end of the 1980s resulted in a flood of reminiscence, almost nightly on television and more formally collected by new Russian oral history groups and western researchers. This book is a fascinating collection of life stories and family history interview material collected by the editors and two Russian groups of interviewers.
In a narrative gracefully combining intellectual and cultural history, Richard Cándida Smith unfolds the legacy of Stéphane Mallarmé (1842-1898), the poet who fathered the symbolist movement in poetry and art. The symbolists found themselves in the midst of the transition to a world in which new media devoured cultural products and delivered them to an ever-growing public. Their goal was to create and oversee a new elite culture, one that elevated poetry by removing it from a direct relationship to experience. Instead, symbolist poetry was dedicated to exploring discourse itself, and its practitioners to understanding how language shapes consciousness. Cándida Smith investigates the inte...
The National Endowment for the Arts is often accused of embodying a liberal agenda within the American government. In Federalizing the Muse, Donna Binkiewicz assesses the leadership and goals of Presidents Kennedy through Carter, as well as Congress and the National Council on the Arts, drawing a picture of the major players who created national arts policy. Using presidential papers, NEA and National Archives materials, and numerous interviews with policy makers, Binkiewicz refutes persisting beliefs in arts funding as part of a liberal agenda by arguing that the NEA's origins in the Cold War era colored arts policy with a distinctly moderate undertone. Binkiewicz's study of visual arts gra...