In Autonomy Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of Ben Lerner and Jennifer Egan to The Wire and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism.

Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.

Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”

In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.

The 1960s were heady years in Argentina. Visual artists, curators, and critics sought to fuse art and politics; to broaden the definition of art to encompass happenings and assemblages; and, above all, to achieve international recognition for new, cutting-edge Argentine art. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the 1960s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina’s visual arts.

The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.

The Avenue in C. Eric Lincoln’s fictional town is the principal residential street of the black community in Clayton City, a prototypical southern town languishing between the two world wars. Unpaved and marked by ditches full of frogs, snakes, and empty whiskey bottles on one side of town, it is the same street, though with a different name, that originates downtown. Only when it reaches the black section of Clayton City do the paving stop and the trash-filled ditches begin. On one side, it provides a significant address for the white people who live there. On the other, despite its rundown air, it is still the best address available to the town’s black population. Some of them, in fact, are willing to go to any extreme, including murder, to get there.
In this novel, originally published in 1988, Lincoln creates with deft skill the drama that rises from the lives of the people of Clayton City. In turn amusing, disgusting, enraging, wistful, and, as one hears the secrets hidden deep in their hearts, shocking, they exist in a place whose vibrant personality is itself a unique configuration of geography, relationships, patterns of behavior, and events. It is also a place whose unspoken and hidden power lies in its crushing compulsion to maintain itself as it already is—a power that forces everyone to succumb to an inflexible social order.

There are two Indias: the caste and class elite who hold all power and make up 10 to 15 percent of the population, and everyone else. Averting the Apocalypse is about everyone else. Arthur Bonner, a former New York Times reporter with long experience as a foreign correspondent in Asia, conducted interviews over many months while traveling almost 20,000 miles within India seeking out the underclass and social activists who together are beginning to mobilize for social change at the bottom of Indian society. Working in areas torn by violence, Bonner offers a terrifyingly accurate portrait of a society bloodied by decades of unequal social structure and the absence of a civil society and political mechanism capable of responding to the exploitation of the poor and weak.
Bonner finds that India’s inability or refusal to address its debilitating social structure may be the precursor to an apocalyptic social upheaval unless heed is paid to the social movements that his first-hand investigation reveals.