Rediscovering a lost luminary of modernism and the Russian avant-garde
 
This kaleidoscopic biography offers readers a compelling microhistory of a revolutionary moment in art and politics through its portrait of an enigmatic but influential figure: Ivan Aksyonov authored the first book-length study about Pablo Picasso, translated Elizabethan drama, and was a literary adviser to Vsevolod Meyerhold, as well as a teacher of Sergei Eisenstein in Meyerhold’s institute and an important critic, before dying in 1935. Lars Kleberg traces Aksyonov’s influences, interlocutors, and creative output in multiple genres and media to bring a complicated and fascinating character back to life. Kleberg invites us to reconsider the avant-garde and to understand the political and artistic ferment of the revolutionary era and its aftermath in new, deeper ways.

An essential collection of new and selected essays by influential cinema and media studies scholar Tom Gunning.
 
Tom Gunning is the author of multiple books and nearly two hundred essays that have defined the field of cinema and media studies. His works have transformed our understanding of early cinema and the American avant-garde and reset the terms of many central debates in film and media history and theory. His 1986 essay “The Cinema of Attractions” is among the most cited essays on film ever published. Gunning’s writings articulate a distinctive and powerful model for thinking about cinema’s history and likely future, addressing the full range of moving-image media, from film to still photography to digital media. His discussions draw on stage melodrama and magic lantern shows, as well as criminology, world’s fairs, and Spiritualism, surveying the medium as a cultural phenomenon informed by the industrial and information ages, psychiatry, urban experience, discourses on art and aesthetics, and more.
 
This collection brings together twenty-six essays that showcase the depth and range of Gunning’s scholarship, including four that have never before been published. Together, they solidify Gunning’s place as a scholar who has transformed the way generations of scholars, archivists, critics, and artists think about cinema.
 

In Beyond the Sovereign Self Grant H. Kester continues the critique of aesthetic autonomy begun in The Sovereign Self, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myre and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements.

“An instant classic.”—Calvin Bedient, New Republic

Mexico’s greatest modern poet reflects upon the twilight of modernity.

If Octavio Paz was “one of the greatest poets that the Spanish-language world has ever produced,” as Mario Vargas Llosa once said, he was also an astoundingly erudite critic. Here, in his 1971–1972 Norton Lectures, the Nobel laureate offers a potent and prescient diagnosis of the condition of poetry in the wake of literary modernism.

Poetry’s relationship with modernity, Paz argues, has always been tempestuous. If modern temporality posited the forward march of history toward the gates of a secular future, poetry is the “world of nonsequential time...a spiral sequence which turns ceaselessly without ever returning completely to its beginning.” And if modernity is the age of revolution, a negation of the past propelled by critical rationality, poetry chafes against the strictures of reason, aimlessly dwelling in dreams, eroticism, mythology, and other realms inaccessible to revolutionary fervor. Meanwhile, avant-garde attempts to embrace the “aesthetics of change” and recreate the revolutionary spirit in verse have exhausted themselves. What’s left, Paz maintains, is to return to the sinuous temporality of the poem itself, the irresolvable tension between the historical text and the abolition of history in the lyrical present.

Mapping the changing meanings of modernity across a wide range of poetic movements, from English and German Romanticism, French Surrealism, and Latin American modernismo to the avant-garde experiments of Vicente García-Huidobro, Children of the Mire is not only a dazzlingly cosmopolitan work of literary criticism. It is also a revealing portrait of the one of the defining voices of Latin American literature.

Marshall McLuhan (1911–1980) is best known as a media theorist—many consider him the founder of media studies—but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan’s work directly influenced the art and artists of his time.
 
Kitnick builds the story of McLuhan’s entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan’s own words and his provocative ideas about what art is and what artists should do, revealing McLuhan’s influence on the avant-garde through the confluence of art and theory. The illuminating result sheds light on new aspects of McLuhan, showing him not just as a theorist, or an influencer, but as a richly multifaceted figure who, among his many other accolades, affected multiple generations of artists and their works. The book finishes with Kitnick overlaying McLuhan’s ethos onto the state of contemporary and post-internet art. This final channeling of McLuhan is a swift and beautiful analysis, with a personal touch, of art’s recent transgressions and what its future may hold.

Franklin Furnace is a renowned New York–based artsorganization whose mission is to preserve, document, and present works of avant-garde art by emerging artists—particularly those whose works may be vulnerable due to institutional neglect or politically unpopular content. Over more than thirty years, Franklin Furnace has exhibited works by hundreds of avant-garde artists, some of whom—Laurie Anderson, Vito Acconci, Karen Finley, Guillermo Gómez-Peña, Jenny Holzer, and the Blue Man Group, to name a few—are now established names in contemporary art.

Here, for the first time, is a comprehensive history of this remarkable organization from its conception to the present. Organized around the major art genres that emerged in the second half of the twentieth century, this book intersperses first-person narratives with readings by artists and scholars on issues critical to the organization's success as well as Franklin Furnace's many contributions to avant-garde art.

Among the protest movements of the 1960s, the Mexican American Youth Organization (MAYO) emerged as one of the principal Chicano organizations seeking social change. By the time MAYO evolved into the Raza Unida Party (RUP) in 1972, its influence had spread far beyond its Crystal City, Texas, origins. Its members precipitated some thirty-nine school walkouts, demonstrated against the Vietnam War, and confronted church and governmental bodies on numerous occasions.

Armando Navarro here offers the first comprehensive assessment of MAYO's history, politics, leadership, ideology, strategies and tactics, and activist program. Interviews with many MAYO and RUP organizers and members, as well as first-hand knowledge drawn from his own participation in meetings, presentations, and rallies, enrich the text.

This wealth of material yields the first reliable history of this extremely vocal and visible catalyst of the Chicano Movement. The book will add significantly to our understanding of Sixties protest movements and the social and political conditions that gave them birth.

The history of the avant-garde, told in a series of non-linear tableaus.

This volume understands “avant-garde” as a constellation of moments, emphasizing its plural developments and its crucial interventionist role in culture and politics. Challenging the narrative of a linear avant-garde, the book sheds light on local scenes shaped by their distance from artistic practices and sociocultural conditions of their time. Scenes of the Avant-Garde brings together papers from a conference held in Tbilisi on the occasion of the centenary of the Futurist and Dadaist group H2SO4 (1924).

The contributions explore networks, relationships, and collaborations in artistic interventions. What transformational power lies in these practices? What are the gendered, social, and spatial structures, within which artistic groups test and create forms of community? And what can we learn from these overlooked or differently read stories?

The book offers new insights into avant-garde histories, drawing on case studies from countries such as Georgia, Algeria, India, Poland, Czechoslovakia, France, and the United Kingdom.
 

In The Sovereign Self, Grant H. Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends.

With this important new book, Susan Suleiman lays the foundation for a postmodern feminist poetics and theory of the avant-garde. She shows how the figure of Woman, as fantasy, myth, or metaphor, has functioned in the work of male avant-garde writers and artists of this century. Focusing also on women's avant-garde artistic practices, Suleiman demonstrates how to read difficult modern works in a way that reveals their political as well as their aesthetic impact.

Suleiman directly addresses the subversive intent of avant-garde movements from Surrealism to postmodernism. Through her detailed readings of provocatively transgressive works by André Breton, Georges Bataille, Roland Barthes, Alain Robbe-Grillet, Marcel Duchamp, Max Ernst, and others, Suleiman demonstrates the central role of the female body in the male erotic imagination and illuminates the extent to which masculinist assumptions have influenced modern art and theory. By examining the work of contemporary women avantgarde artists and theorists--including Hélène Cixous, Marguerite Duras, Monique Wittig, Luce Irigaray, Angela Carter, Jeanette Winterson, Leonora Carrington, Barbara Kruger, Jenny Holzer, and Cindy Sherman--Suleiman shows the political power of feminist critiques of patriarchal ideology, and especially emphasizes the power of feminist humor and parody.

Central to Suleiman's revisionary theory of the avant-garde is the figure of the playful, laughing mother. True to the radically irreverent spirit of the historical avant-gardes and their postmodernist successors, Suleiman's laughing mother embodies the need for a link between symbolic innovation and political and social change.

Convinced that all aspects of modern culture have been affected by avant-garde art, Renato Poggioli explores the relationship between the avant-garde and civilization. Historical parallels and modern examples from all the arts are used to show how the avant-garde is both symptom and cause of many major extra-aesthetic trends of our time, and that the contemporary avant-garde is the sole and authentic one.

Artist and writer Mina Loy (1882-1966) traversed continents, participated in Futurism, Dada, and Surrealism, and depicted poetic and painterly vistas ranging from lunar landscapes to the gritty streets of the Bowery. Travels with Mina Loy: Navigating the Avant-Garde, a companion text to the award-winning, multi-authored web resource Mina Loy: Navigating the Avant-Garde, offers an illustrated tour of Mina Loy’s long and varied career, contextualized with in-depth explorations of key places that shaped her life and work. Shedding new light on Loy's poetic responses to Italy, her theatrical explorations in New York City, and her forays into the museums of Paris and New York, the book brings in newly discovered and critically overlooked Loy works, as well as fresh timelines and surveys of the critical corpus on her creative output. This essential guidebook to Mina Loy charts her migrations across geography, movements among artistic circles and people, and transit across arts to illuminate her evolving aesthetics, politics, and artistic commitments.