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Sculpture and Its Reproductions
This book is the first of its kind to focus on issues concerning sculpture and reproduction, and to explore the theoretical and practical consequences.
Zhivago's Children
Among the least-chronicled aspects of post-World War II European intellectual and cultural history is the story of the Russian intelligentsia after Stalin. Vladislav Zubok turns a compelling subject into a portrait as intimate as it is provocative. Zhivago's children, the spiritual heirs of Boris Pasternak's noble doctor, were the last of their kind - an intellectual and artistic community committed to a civic, cultural, and moral mission.
Mythmaking in the New Russia
After the collapse of Communist rule in 1991, those loyal to the old regime tried to salvage their political dreams by rejecting some aspects of their history and embracing others. Yeltsin and the democrats, although initially hesitant to rely on the patriotic mythmaking they associated with Communist propaganda, also turned to the national past in times of crisis, realizing they needed not only to create new institutions, but also to encourage popular support for them.Kathleen E. Smith examines the use of collective memories in Russian politics during the Yeltsin years, surveying the various issues that became battlegrounds for contending notions of what it means to be Russian. Both the new...
Art about AIDS
In addition to being a medical, political, and social crisis, the AIDS epidemic in the United States also led to a crisis of artistic representation. This book reveals the important political and moral role of American photographers in the social discourse on AIDS based on the 1989 New York exhibition, “Witnesses: Against Our Vanishing” curated by photographer Nan Goldin.
Remembering the War, Forgetting the Terror
Russian state propaganda has framed the invasion of Ukraine as a liberation mission by invoking the Soviet-era myth of the Great Patriotic War (1941–45), in which the Soviet people, led by Russia, saved the world from the greatest evil of the twentieth century. At the same time, the Russian government has banned civil society institutions and initiatives that remind the country of the legacy of Soviet political violence. Remembering the War, Forgetting the Terror explores the appeal of the cult of the Great Patriotic War and the waning public interest in Soviet political terror as intertwined trends. Ekaterina V. Haskins argues that these developments are driven not only by the weaponizati...
Rethinking Malevich
The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.
Capital Culture
American art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992. Along with S. Dillon Ripley, who served as Smithsonian secretary for much of this time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown’s achievement and the growth of museum culture during this crucial period. Harris combines his in-depth knowledge of American histo...
Burning the Flag
In 1989 a political fire storm erupted after the United States Supreme Court declared that dissidents had the constitutional right under the First Amendment to burn the flag. To some, including President George Bush and many members of Congress, the flag was a sacred symbol of American freedoms. They believed its physical destruction posed a serious threat to the country and demanded a constitutional amendment to reverse the Court's decision. For those who defended the Court's ruling, flag desecration was a form of constitutionally protected free speech, and any attempt to forbid such conduct was seen as creating a dangerous precedent. Burning the Flag brings together the disciplines of law,...
Holocaust Justice
The first book to tell the complete story of the American attempt at restitution for victims of the Holocaust The Holocaust was not only the greatest murder in history; it was also the greatest theft. Historians estimate that the Nazis stole roughly $230 billion to $320 billion in assets (figured in today’s dollars), from the Jews of Europe. Since the revelations concerning the wartime activities of the Swiss banks first broke in the late 1990s, an ever-widening circle of complicity and wrongdoing against Jews and other victims has emerged in the course of lawsuits waged by American lawyers. These suits involved German corporations, French and Austrian banks, European insurance companies, ...
Perfection's Therapy
A deft reinterpretation of the most zealously interpreted picture in the Western canon as a therapeutic artifact. Albrecht Dürer's famous portrayal of creative effort in paralysis, the unsurpassed masterpiece of copperplate engraving titled Melencolia I, has stood for centuries as a pictorial summa of knowledge about the melancholic temperament, a dense allegory of the limits of earthbound arts and sciences and the impossibility of attaining perfection. Dubbed the “image of images” for being the most zealously interpreted picture in the Western canon, Melencolia I also presides over the origins of modern iconology, art history's own science of meaning. Yet we are left with a clutter of ...
