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Informationen zum Autor Jonathan Harris is Professor in Global Art and Design Studies at Winchester School of Art, University of Southampton, UK. His work has consistently explored questions of state power, culture, art, ideology and social order, particularly in Europe and America over the past century. His The New Art History: A Critical Introduction (2001) remains a classic text, and he has published 17 books as editor, author and co-author, including Globalization and Contemporary Art (Wiley-Blackwell, 2011). Klappentext An innovative history and critical account mapping the ways artists and their works have engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism over the past ninety years.* Focuses on artists whose work expresses the concept of revolutionary social transformation* Provides a strong historical narrative that adds structure and clarity* Features a cogent and innovative critique of contemporary art and institutions* Covers 100 years of art from Vladimir Tatlin's constructivist 'Monument to the Third International', to Picasso's late 1940s commitment to Communism, to the Unilever Series sponsored Large Artworks installed at London's Tate Modern since 2000.* Includes the only substantial account in print of John Lennon and Yoko Ono's 1969 Montreal 'Bed-in'* Offers an accessible description and interpretation of Debord's 'society of the spectacle' theory "Though theoretically sophisticated, this volume is accessible and engaging. Summing Up: Recommended. Upper-level undergraduates through professionals/practitioners." ( Choice , 1 September 2013) Zusammenfassung An innovative history and critical account mapping the ways artists and their works have engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism over the past ninety years. Inhaltsverzeichnis List of Illustrations ix Acknowledgements xi Introduction: The World in a Work of Art 1 Global Order, Social Order, Visual Order 2 'Globalization' and 'Globalism' in Th eory and Practice 10 Capitalism and Communism as (Failed) Utopian Totalities 16 Ideal and Real Collectivities 23 1 Spectacle, Social Transformation and Utopian Globalist Art 34 Spectacular Cold War Communisms and Capitalisms 35 Alienation/Separation and State Power 44 System, Totality, Representation and the 'Utopian Imaginary' 51 The 'Conquest of Space', Spectacular Art and Globalist Vision 57 2 The Line of Liberation: Tatlin's Tower and the Communist Construction of Global Revolution 76 Revolutionary Rupture, Structure and Sense 77 Space and Symbolism 85 Beyond Order 95 Collectivity and Necessity 103 3 Picasso for the Proletariat: 'The Most Famous Communist in the World '118 Commitment to the Cause, Right or Wrong 119 Picasso as Screen 129 Image, Persona, Mediations 139 Picasso ' s Use and Exchange Value 147 4 Some Kind of Druid Dude: Joseph Beuys's Liturgies of Freedom 165 Tatlin for the Television Generation 166 The Beuysian Spectacular Persona 171 The Spirit of the Earth 179 Process, Performance, Metabolic Transformation 185 Political Actions 191 5 'Bed-in' as Gesamtkunstwerk: A Typical Morning in the Quest for World Peace 211 Sugar, Sugar 212 A Sequestered Zone of Peace 217 Just My Imagination 225 A Man from Liverpool and a Woman from Tokyo 229 6 Mother Nature on the Run: Austerity Globalist Depletions in the 1970s 246 Transmission, Replacement, Negation, Deletion 247 West/East-North/South 253 Banality as Tactic 260 Austerity Globalism's Body-Politic 265 'Development' Exposed 272 7 Nomadic Globalism: Scenog...
