Kartoon Kings is the first monographic and comprehensive analysis of the graphic artwork of Simon Grennan and Christopher Sperandio. This work showcases a collection of full-color images excerpted from comic book projects, videos, billboards, and more of the artists’ collaborative public contributions created over the past fifteen years. To supplement the images an interview with the artists by Kristina Olson is included, along with essays by Joshua Decter and Paul Krainak. Grennan and Sperandio work together by conspiring about their creative ideas on the Internet. Their teamwork must be done this way because Grennan lives in England, while Sperandio lives in the United States.
More of Sperandio and Grennan’s work can be seen at www.kartoonkings.com.
“In the annals of American diplomacy, the presence of George F. Kennan stands tall and daunting, a figure of articulate intelligence who thought about the action but also beyond it. He was not always a great diplomat, for his imagination was lively, and he lacked the self-effacing patience which is so essential to the profession at its most mundane; but he was a great analyst and policymaker, one of the very few this country has produced in foreign affairs, perhaps finest since John Quincy Adams.”
Thus begins Anders Stephanson's penetrating study of this complicated, often controversial, yet highly respected public man. From an array of intellectual reference points, Stephanson has written what is not only the most serious assessment of Kennan to appear but is also a work of general significance for a wide range of contemporary issues in foreign and domestic politics and culture. Appropriately, the book's emphasis is on Kennan's lifelong attempt to grasp Soviet foreign policy and devise an effective American response, particularly during the decisive period around the Second World War when the contours of our present world order gradually emerged: the period of wartime alliance with the Soviet Union, the ensuing “containment” policies and division of Europe and much of the world into hostile blocs. Stephanson also examines Kennan's strategic vision, his “realistic” approach to foreign policy, and his disdain for the Third World.
An extended final section, “Class and Country,” then situates Kennan as an essentially European kind of “organicist” conservative with no obvious political home in American society, a society manifestly unorganic in all its mobility and mass culture. An outsider without class attachment, he could never reconcile his dislike of American politics and culture with his attachment to values of order and hierarchy. These warring sensibilities produced, for example, vehement denunciations of McCarthyism as well as of the student revolts of the following decade. Yet it was Kennan's marginality, his functional detachment from domestic politics, that made possible his often clairvoyant analyses of foreign affairs.
Stephanson's work is an unusually broad and deep characterization of a reflective, sometimes enigmatic but always outstanding American policymaker and man of letters.
The Vietnam War (1964–1975) divided American society like no other war of the twentieth century, and some of the most memorable American art and art-related activism of the last fifty years protested U.S. involvement. At a time when Pop Art, Minimalism, and Conceptual Art dominated the American art world, individual artists and art collectives played a significant role in antiwar protest and inspired subsequent generations of artists. This significant story of engagement, which has never been covered in a book-length survey before, is the subject of Kill for Peace.
Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists’ individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists’ groups including the Art Workers’ Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC’s Q. And Babies? A. And Babies and APC’s The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists’ approaches to protest. These approaches range from extra-aesthetic actions—advertisements, strikes, walk-outs, and petitions without a visual aspect—to advance memorials, which were war memorials purposefully created before the war’s end that criticized both the war and the form and content of traditional war memorials.
A key interdisciplinary concept in our understanding of social interaction across creative and cultural practices, kinesthetic empathy describes the ability to experience empathy merely by observing the movements of another human being. Encouraging readers to sidestep the methodological and disciplinary boundaries associated with the arts and sciences, Kinesthetic Empathy in Creative and Cultural Practices offers innovative and critical perspectives on topics ranging from art to sport, film to physical therapy.
Known for their beautiful textile art, the Kuna of Panama have been scrutinized by anthropologists for decades. Perhaps surprisingly, this scrutiny has overlooked the magnificent Kuna craft of nuchukana—wooden anthropomorphic carvings—which play vital roles in curing and other Kuna rituals. Drawing on long-term fieldwork, Paolo Fortis at last brings to light this crucial cultural facet, illuminating not only Kuna aesthetics and art production but also their relation to wider social and cosmological concerns.
Exploring an art form that informs birth and death, personhood, the dream world, the natural world, religion, gender roles, and ecology, Kuna Art and Shamanism provides a rich understanding of this society’s visual system, and the ways in which these groundbreaking ethnographic findings can enhance Amerindian scholarship overall. Fortis also explores the fact that to ask what it means for the Kuna people to carve the figure of a person is to pose a riddle about the culture’s complete concept of knowing.
Also incorporating notions of landscape (islands, gardens, and ancient trees) as well as cycles of life, including the influence of illness, Fortis places the statues at the center of a network of social relationships that entangle people with nonhuman entities. As an activity carried out by skilled elderly men, who possess embodied knowledge of lifelong transformations, the carving process is one that mediates mortal worlds with those of immortal primordial spirits. Kuna Art and Shamanism immerses readers in this sense of unity and opposition between soul and body, internal forms and external appearances, and image and design.
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