Iconoclasm Identity Politics And The Erasure Of History
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Iconoclasm, Identity Politics and the Erasure of History by Alexander Adams Pdf
Iconoclasm, Identity Politics and the Erasure of History surveys the origins, uses and manifestations of iconoclasm in history, art and public culture. It examines the various causes and uses of image/property defacement as a tool of political, national, religious and artistic process. This is one of the first books to examine the outbreak of iconoclasm in Europe and North America in the summer of 2020 in the context of previous outbreaks, and it examines the implications of iconoclasm as a form of control, censorship and expression.
Identity politics have taken a strong hold on modern society, in particular online on social media platforms. But to what extent have they contributed to human flourishing? Have they changed the world for the better, and to what extent? David Pilgrim explores identity politics as a 'curate's egg': good and bad in parts. The good, that they shine light on topics that may previously have been neglected. The bad, their tendency towards absolutism and premature certainties. The world is nuanced and contradictory, and our awareness of it is highly partial. Identity politics are an inadequate response to that complexity and mystery of life. They take away the need to give free expression to all views, including those we may not only disagree with but might also find offensive. Pilgrim re-establishes a realist objection to strong social constructivist arguments within social science about gender, sexualities, and putative moral panics. This accessible book is a must-read for anyone with an interest in contemporary policy formation or reform. It will appeal to students and professionals from the fields of sociology, politics, social policy, social work, philosophy, mental health, and public health could use this book.
Why has identity become so central to judging art today? Why are some groups reluctant to defend free speech within culture? Has state support made artists poorer not richer? How does the movement for social justice influence cultural production? Why is Post-Modernism dominant in the art world? Why are consumers of comic books so bitterly divided? In Culture War: Art, Identity Politics and Cultural Entryism Alexander Adams examines a series of pressing issues in today's culture: censorship, Islamism, Feminism, identity politics, historical reparations and public arts policy. Through a series of linked essays, Culture War exposes connections between seemingly unrelated events and trends in high and popular cultures. From fine art to superhero comics, from political cartoons to museum policy, certain persistent ideas underpin the most contentious issues today. Adams draws on history, philosophy, politics and cultural criticism to explain the reasoning of creators, consumers and critics and to expose some uncomfortable truths.
Recent years in America have seen Confederate monuments toppled, statues of colonizers vandalized, and public icons commemorating figures from a history of exploitation demolished. Some were alarmed by the destruction, claiming that pulling down public statues is a negation of an entire cultural heritage. For others, statue-smashing is justified vandalism against a legacy of injustice. Monumental Fury confronts the long-neglected questions of our relationship with statues, icons, and monuments in public spaces, providing a rich historical perspective on iconoclastic violence. Organized according to specific themes that provide insights into the erection and destruction of statues — from religion, war, and revolution to colonialism, ideology, art, and social justice — author Matthew Fraser examines the implications of our monuments from the Buddhas of Bamiyan to those of Napoleon Bonaparte, Abraham Lincoln, Robert E. Lee, Vladimir Lenin, and many more. Above all, the book endeavors to frame moments of statue-toppling throughout history so we can better understand the eruptions of iconoclastic violence that we are witnessing today. Statues are erected as expressions of power, and the impulse to destroy them is motivated by a desire to defy, reject, and eradicate their authority. However, the symbolic power of statues can stubbornly persist even after their destruction. This enduring paradox — between destruction and resurrection – is at the heart of this book. Fraser concludes with reflections that propose new ways of thinking about our relationship with statues and monuments and, more practically, about how we can creatively integrate their legacy into our collective memory in a way that inclusively enriches shared historical experience.
From Banksy to Extinction Rebellion, artivism (activism through art) is the art of our era. From international biennale to newspaper pages, artivism is everywhere. Both inside museums and on the streets, global artivism spreads political messages and raises social issues, capturing attention with shocking protests and weird stunts. Yet, is this fusion of art and activism all it seems? Are artivist messages as subversive and anti-authoritarian we assume they are? How has the art trade commodified protest and how have activists parasitised art venues? Is artivism actually an arm of the establishment? Using artist statements, theoretical writings, statistical data, historical analysis and insider testimony, British art critic Alexander Adams examines the origins, aims and spread of artivism. He uncovers troubling ethical infractions within public organisations and a culture of complacent self-congratulation in the arts. His findings suggest the perception of artivism – the most influential art practice of the twenty-first century – as a grassroots humanitarian movement could not be more misleading. Adams concludes that artivism erodes the principles underpinning museums, putting their existence at risk.
Image Controversies by Birgit Mersmann,Christiane Kruse,Arnold Bartetzky Pdf
In many contemporary societies we encounter iconoclasm breaking out with renewed violence. Iconoclastic actions against objects of visual material culture and testimonials of history act as dynamite in the public sphere. They are expressions of political, religious, national, and identity conflicts. Even the freedom of art is threatened by censorship and cancel culture. Based on case studies from different world regions, contemporary iconoclasms in art, media, and cultural heritage are critically analyzed from both a global and an interdisciplinary perspective. Divided into three sections, the book discusses attacks on monuments and memorials, idol disputes in museums and the visual arts, and forms of mediated iconoclasm in contemporary art.
From false idols and graven images to the tombs of kings and the shrines of capitalism, the targeted destruction of cities, sacred sites and artefacts for religious, political or nationalistic reasons is central to our cultural legacy. This book examines the different traditions of image-breaking in Christianity and Islam as well as their development into nominally secular movements and paints a vivid, scholarly picture of a culture of destruction encompassing Protestantism, Wahhabism, and Nationalism. Beginning with a comparative account of Calvinist Geneva and Wahhabi Mecca, The Politics of Iconoclasm explores the religious and political agendas behind acts of image-breaking and their relation to nationhood and state-building. From sixteenth-century Geneva to urban developments in Mecca today, The Politics of Iconoclasm explores the history of image-breaking, the culture of violence and its paradoxical roots in the desire for renewal. Examining these dynamics of nationhood, technology, destruction and memory, a historical journey is described in which the temple is razed and replaced by the machine.
Iconoclasm and Iconoclash by Willem J. van Asselt,Paul Van Geest,Daniela Muller Pdf
In the history of Jewish, Christian and Muslim culture, religious identity was not only formed by historical claims, but also by the usage of certain images: "images of God," "images of the others," "images of the self."This book includes a discussion of the role of these images in society and politics, in theology and liturgy, yesterday and today.
A comprehensive history of censorship in modern Britain For Victorian lawmakers and judges, the question of whether a book should be allowed to circulate freely depended on whether it was sold to readers whose mental and moral capacities were in doubt, by which they meant the increasingly literate and enfranchised working classes. The law stayed this way even as society evolved. In 1960, in the obscenity trial over D. H. Lawrence's Lady Chatterley's Lover, the prosecutor asked the jury, "Is it a book that you would even wish your wife or your servants to read?" Christopher Hilliard traces the history of British censorship from the Victorians to Margaret Thatcher, exposing the tensions between obscenity law and a changing British society. Hilliard goes behind the scenes of major obscenity trials and uncovers the routines of everyday censorship, shedding new light on the British reception of literary modernism and popular entertainments such as the cinema and American-style pulp fiction and comic books. He reveals the thinking of lawyers and the police, authors and publishers, and politicians and ordinary citizens as they wrestled with questions of freedom and morality. He describes how supporters and opponents of censorship alike tried to remake the law as they reckoned with changes in sexuality and culture that began in the 1960s. Based on extensive archival research, this incisive and multifaceted book reveals how the issue of censorship challenged British society to confront issues ranging from mass literacy and democratization to feminism, gay rights, and multiculturalism.
Identity Politics in Deconstruction by Carolyn D'Cruz Pdf
Identity politics dominates the organisation of liberation movements today. This is the case whether fighting over one's birthright to a nation, such as in the Palestinian/Israeli conflict; lobbying for civil rights, such as in gay and lesbian campaigns for marriage; or struggling for citizenry recognition as currently experienced by asylum seekers. In this book Carolyn D'Cruz investigates the nexus between what David Birch describes as ’the seemingly impossible of high theory and the seemingly accessible possibilities of popular discourse’, as encountered in liberation movements based on identity. D'Cruz reworks the logic of such movements through the unique combination of Derridean deconstruction, Foucauldian discourse and Levinasian ethics. Moving both within and between the domains of philosophy, politics and ’postmodern culture’ this book offers both a clear explication of complex philosophical issues and an understanding of how they relate to the political practicalities of everyday life.
Women & Art surveys the history of women in art and addresses the effects of feminist art history and art production. This book is among the first to offer a critical assessment of the role of feminism in art history and how it has presented and misrepresented women's roles in art. Seeking to counterbalance overwhelmingly pro-feminist narratives, it relies on evidence from artists, statisticians, and historians to support individual women artists while remaining critical of feminism. Cogent and persuasive, Women & Art stands as a key for students and researchers interested in art history, gender studies, feminism, and cultural studies.
The Lives of Lucian Freud: Fame by William Feaver Pdf
The first biography of the epic life of one of the most important, enigmatic and private artists of the 20th century. Drawn from almost 40 years of conversations with the artist, letters and papers, it is a major work written by a well-known British art critic. Lucian Freud (1922-2011) is one of the most influential figurative painters of the 20th century. His paintings are in every major museum and many private collections here and abroad. William Feaver's daily calls from 1973 until Freud died in 2011, as well as interviews with family and friends were crucial sources for this book. Freud had ferocious energy, worked day and night but his circle was broad including not just other well-known artists but writers, bluebloods, royals in England and Europe, drag queens, fashion models gamblers, bookies and gangsters like the Kray twins. Fierce, rebellious, charismatic, extremely guarded about his life, he was witty, mischievous and a womanizer. This brilliantly researched book begins with the Freuds' life in Berlin, the rise of Hitler and the family's escape to London in 1933 when Lucian was 10. Sigmund Freud was his grandfather and Ernst, his father was an architect. In London in his twenties, his first solo show was in 1944 at the Lefevre Gallery. Around this time, Stephen Spender introduced him to Virginia Woolf; at night he was taking Pauline Tennant to the Gargoyle Club, owned by her father and frequented by Dylan Thomas; he was also meeting Sonia Orwell, Cecil Beaton, Auden, Patrick Leigh-Fermor and the Aly Khan, and his muse was a married femme fatale, 13 years older, Lorna Wishart. But it was Francis Bacon who would become his most important influence and the painters Frank Auerbach and David Hockney, close friends. This is an extremely intimate, lively and rich portrait of the artist, full of gossip and stories recounted by Freud to Feaver about people, encounters, and work. Freud's art was his life—"my work is purely autobiographical"—and he usually painted only family, friends, lovers, children, though there were exceptions like the famous small portrait of the Queen. With his later portraits, the subjects were often nude, names were never given and sittings could take up to 16 months, each session lasting five hours but subjects were rarely bored as Freud was a great raconteur and mimic. This book is a major achievement, a tour de force that reveals the details of the life and innermost thoughts of the greatest portrait painter of our time. Volume I has 41 black and white integrated images, and 2 eight-page color inserts.
Dylan at 80 by Gary Browning,Constantine Sandis Pdf
2021 marks Dylan's 80th birthday and his 60th year in the music world. It invites us to look back on his career and the multitudes that it contains. Is he a song and dance man? A political hero? A protest singer? A self-portrait artist who has yet to paint his masterpiece? Is he Shakespeare in the alley? The greatest living exponent of American music? An ironsmith? Internet radio DJ? Poet (who knows it)? Is he a spiritual and religious parking meter? Judas? The voice of a generation or a false prophet, jokerman, and thief? Dylan is all these and none. The essays in this book explore the Nobel laureate's masks, collectively reflecting upon their meaning through time, change, movement, and age. They are written by wonderful and diverse set of contributors, all here for his 80th birthday bash: celebrated Dylanologists like Michael Gray and Laura Tenschert; recording artists such as Robyn Hitchcock, Barb Jungr, Amy Rigby, and Emma Swift; and 'the professors' who all like his looks: David Boucher, Anne Margaret Daniel, Ray Monk, Galen Strawson, and more. Read it on your toaster!
