Last winter, a man tried to break Marcel Duchamp’s Fountain sculpture. The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts.
Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture.
Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.
Since the defeat of the Third Reich in 1945, Germany has been in a continual state of turmoil and reinvention. In Three Germanies, Michael Gehler explores the political rollercoaster Germany has been riding since the Yalta Conference, which split postwar Germany into separate zones controlled by the Soviets, Americans, French, and British. Peace, however, was short lived; from 1948 to 1949 Stalin blockaded Berlin in an attempt to gain control over the largest city in Germany. Though the blockade was finally broken in May of 1949, soon after, Germany was officially split into the Federal Republic of Germany, or West Germany, and the German Democratic Republic, or East Germany. From then on, Germany became two very different countries with opposite political ideals, splitting families down the middle ideologically—and soon physically, with the erection of the Berlin Wall in 1961.
Though the Berlin Wall came down in 1989 and Germany was reunified, its problems were far from over: to this day Chancellor Angela Merkel and the Grand Coalition struggle to implement reform. Gehler’s timely and relevant study will appeal to readers interested in postwar diplomacy and the future of Germany, as it examines Germany’s attempts to find a government and a leader that will create a stable and secure country in the twenty-first century.
Writer Samuel Beckett (1906–89) is known for depicting a world of abject misery, failure, and absurdity in his many plays, novels, short stories, and poetry. Yet the despair in his work is never absolute, instead it is intertwined with black humor and an indomitable will to endure––characteristics best embodied by his most famous characters, Vladimir and Estragon, in the play Waiting for Godot. Beckett himself was a supremely modern, minimalist writer who deeply distrusted biographies and resisted letting himself be pigeonholed by easy interpretation or single definition. Andrew Gibson’s accessible critical biography overcomes Beckett’s reticence and carefully considers the writer’s work in relation to the historical circumstances of his life.
In Samuel Beckett, Gibson tracks Beckett from Ireland after independence to Paris in the late 1920s, from London in the ’30s to Nazi Germany and Vichy France, and finally through the cold war to the fall of communism in the late ’80s. Gibson narrates the progression of Beckett’s life as a writer—from a student in Ireland to the 1969 Nobel Prize winner for literature—through chapters that examine individual historical events and the works that grew out of those experiences. A notoriously private figure, Beckett sought refuge from life in his work, where he expressed his disdain for the suffering and unnecessary absurdity of much that he witnessed.
This concise and engaging biography provides an essential understanding of Beckett's work in response to many of the most significant events of the past century.
From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture.
Photography and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography’s history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange’s poster “All races serve the crops in California;” an early photographic view of Niagara Falls against the painstaking detail of Edward Weston’s Pepper, No. 30; a fireman’s fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s “Wanted” image to Elliot Erwitt’s shot of the Nixon–Kruschchev “Kitchen Debate.” Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves.
A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture.
From Chicago to Toronto to Shanghai, cities around the world have sprouted “iconic” buildings by celebrity architects like Frank Gehry and Daniel Libeskind that compete for attention both on the skyline and in the media. But in recent years, criticism of these extreme “gestural” structures, known for their often-exaggerated forms, has been growing. Miles Glendinning’s impassioned polemic, Architecture’s Evil Empire, looks at how today’s trademark architectural individualism stretches beyond the well-known works and ultimately extends to the entire built environment. Glendinning examines how the global empire of the current modernism emerged—particularly in relation to the excesses of global capitalism—and explains its key organizational and architectural features, placing its most influential theorists and designers in a broader context of history and artistic movements.
Arguing against the excesses of iconic architecture, Glendinning advocates a vision of modern renewal that seeks to remedy the shattered and alienated look he sees in contemporary architecture. Mingling scholarship with wry humor and a genuine concern for the state of architecture, Architecture’s Evil Empire will raise many heated debates and appeal to a wide range of readers, from architects to historians, interested in the built environment.
Egypt immediately conjures images of the pyramids, the temples and the Sphinx in the desert. Early photographs of Egypt took these ancient monuments as their primary subjects, and these have remained hugely influential in constructing our view of the country. But while Egypt and its monuments have been regularly photographed by foreigners, little has been known about the early days of photography among Egyptians. Photography and Egypt examines both, considering images from the mid-nineteenth century to the present day, including studio portraits, landscapes and photojournalism.
Two forces drove photography’s early development in Egypt: its link as an essential tool of archaeology and the accelerating effects of archaeological photographs on the burgeoning tourism industry. In this book, Maria Golia examines these twin drives, through the work of Europeans who travelled to Egypt as well as early Egyptian and Middle Eastern photographers. Golia examines how photography was also employed for propaganda purposes, including depictions of celebrated soldiers, workers and farmers; and how studio-based photography was used to portray the growing Egyptian middle class. Today’s young photographic artists, Golia reveals, use the medium to celebrate everyday life and to indict political and social conditions, with photography bearing witness to history––as well as helping to shape it.
Illustrated with a rich, sometimes surprising variety of images, many published for the first time in the West, Photography and Egypt is the first book to relate the story of Egypt’s rapport with photography in one concise and highly readable account.
In the past decade, the number of Americans who consider themselves runners more than doubled—in 2008, more than 16 million Americans claimed to have run or jogged at least 100 days in the year. Though now running thrives as a convenient and accessible form of exercise, it is no surprise to learn that the modern craze is not truly new; humans have been running as long as they could walk. What may be surprising however are the myriad reasons why we have performed this exhausting yet exhilarating activity through the ages. In this humorous and unique world history, Thor Gotaas collects numerous unusual and curious stories of running from ancient times to modern marathons and Olympic competitions.
Amongst the numerous examples that illustrate Gotaas’s history are King Shulgi of Mesopotamia, who four millennia ago boasted of running from Nippur to Ur, a distance of not less than 100 miles. Gotaas’s account also includes ancient Egyptian pharaohs who ran to prove their vitality and maintain their power, Norwegian Vikings who exercised by running races against animals, as well as little-known naked runs, bar endurance tests, backward runs, monk runs, snowshoe runs, and the Incas’ ingenious infrastructure of professional runners.
The perfect gift for the sprinter, the marathoner, or the daily jogger, this intriguing world history will appeal to all who wish to know more about why the ancients shared our love—and hatred—of this demanding but rewarding pastime.
Surprisingly, the common notion of taking a seaside vacation has only existed since the eighteenth century, with a growing acceptance of the idea that fresh air and sea water are good for one’s health. Since then, seaside resorts for all budgets have sprung up around the world. In Designing the Seaside, Fred Gray offers a richly illustrated history of seaside architecture and culture, from the smallest beach hut to the grandest hotels. Through over 400 illustrations that include historic photographs, pamphlets, guidebooks, postcards, and posters, Gray explores the changing attitudes toward shoreline vacations.
“Designing the Seaside manages to be both scholarly and colorful and offers a timely history of seaside art and architecture, from Brighton Pier and beach huts in Nice to a derelict resort complex in the Baltic, to the bizarre Palm islands of Dubai.”—London Evening Standard
“Filled with photographs, architectural drawings, guidebooks, postcards and posters, this book explores changing attitudes to holidays and their settings. . . . There is an exploration of how the seaside became a hotbed for issues of morality, where people took their sauce on a postcard as often as with their fish and chips.”—Daily Telegraph
“Gray’s illuminating study of the history of seaside architecture shows what a profound influence many of the innovations born on British coasts have had on Western holiday ideals.”—Metro London
Bell-bottoms are in. Bell-bottoms are out. Bell-bottoms are back in again. Fads constantly cycle and recycle through popular culture, each time in a slightly new incarnation. The term “retro” has become the buzzword for describing such trends, but what does it mean? Elizabeth Guffey explores here the ambiguous cultural meanings of the term and reveals why some trends just never seem to stay dead.
Drawing upon a wealth of original research and entertaining anecdotal material, Guffey unearths the roots of the term “retro” and chronicles its evolving manifestations in culture and art throughout the last century. Whether in art, design, fashion, or music, the idea of retro has often meant a reemergence of styles and sensibilities that evoke touchstones of memory from the not-so-distant past, ranging from the drug-induced surrealism of psychedelic art to the political expression of 1970s afros.
Guffey examines how and why the past keeps coming back to haunt us in a variety of forms, from the campy comeback of art nouveau nearly fifty years after its original decline, to the infusion of art deco into the kitschy glamor of pop art, to the recent popularity of 1980s vogue. She also considers how advertisers and the media have employed the power of such cultural nostalgia, using recycled television jingles, familiar old advertising slogans, and famous art to sell a surprising range of products.
An engrossing, unprecedented study, Retro reveals the surprising extent to which the past is embedded in the future.
As made abundantly clear in the classified documents recently made public by WikiLeaks, Pakistan is the keystone in the international fight against terrorism today. After the US-led coalition targeted terrorist groups operating in Afghanistan, these groups, including al Qaeda and the Taliban, relocated to the Federally Administered Tribal Area of Pakistan. From its base in this remote, inhospitable region of Pakistan, al Qaeda and its associated cells have planned, prepared, and executed numerous terrorist attacks around the world, in addition to supporting and waging insurgencies in Iraq, Afghanistan, Yemen, Somalia, and elsewhere.
This book is the first detailed analysis of the myriad insurgent groups working in Pakistan. Written by well-known expert on global terrorism Rohan Gunaratna and Khuram Iqbal, a leading scholar in Pakistan, the book examines and reviews the nature, structure, and agendas of the groups, their links to activists in other countries, such as India and Iran, and the difficulties of defeating terrorism in this part of the world. Drawing on extensive field research and interviews with government officials and former terrorists, the authors argue that Pakistan faces grave and continuing pressures from within, and that without steadfast international goodwill and support, the threats of extremism, terrorism, and insurgency will continue to grow.
This timely and necessary book argues that if the international community is to win the battle against ideological extremism and operational terrorism around the world, then Pakistan should be in the vanguard of the fight.
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