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Andrew Patrizio

‘The real revolution is internal … the most effective action is molecular.’ (Herbert Read, ‘Anarchism Past and Present’, 1947) This chapter looks at anarchist-related ideas of mutualism and nonhierarchy with an eye on what kind of art history has and could in future be written using such principles. There is a particular focus on the work of Herbert Read, not only as a well-known figure in our discipline but as a public intellectual who shaped postwar anarchist writing beyond art history, criticism and poetry. In the main, anarchist inflections

in The ecological eye
Rebecca Binns

While Crass brought a distinct vision of anarchism, pacifism and feminism into punk through their output in the early years, as the 1980s progressed they became increasingly focused on the authoritarianism, divisive politics and neo-liberal economics of the Thatcher government. Thatcher provided the locus for opposition from various quarters due to her extreme political-economic stance, harsh posturing and high visibility. While the Left in general was focused on opposition to the Tory regime, the anarchist perspective differed in that it saw

in Gee Vaucher
Test Dept and the subsumption of labour
Marc James Léger

together to defend what is common.’ 9 This shift of emphasis by Test Dept from revolutionary proletarian politics to nomadic anarchism brings the reader back to the aesthetic question that is addressed in the epigraph of Monroe’s introduction, a quotation from Peter Bürger’s 2010 essay ‘Avant-Garde and Neo-Avant-Garde: An Attempt to Answer Certain Critics of Theory of the Avant-Garde .’ The words from Bürger read: ‘Measured against their goals and the hopes that they carried, all revolutions have failed: this fact does not lessen their

in Vanguardia
A discussion of anarchism, art and politics
Rose-Carol Washton Long

1 Is Der Blaue Reiter relevant for the twenty-first century? A discussion of anarchism, art and politics Rose-Carol Washton Long D u r i n g the last century, scholars celebrated the two editors of Der Blaue Reiter for their publication of a yearbook, which brought together an extraordinary mixture of art works from a variety of periods and countries.1 That the two artists were messianic utopians as well as consummate publicists has usually not been questioned.2 Yet, since the last quarter of the twentieth century, especially with the 1984 English translation

in German Expressionism
Andrew Patrizio

. In their search for primitivist societies and their cultural manifestations of mutualism, these theories were just as significant for the Fauves and Picasso as they were for the art of Rousseau. 3 Clearly, anarchism had an acknowledged impact on cultural expression in revolutionary Europe of the nineteenth century – the context in which Kropotkin was writing. It has been noted by others that for him ‘ethics can be grounded in the natural world’, 4 a formulation that still has resonances in contemporary ethics and politics. But returning to his ideas with

in The ecological eye
Anarchism, social ecology and art
Andrew Patrizio

Introduction In Part II , the study is grounded in the political – particularly anarchist and social ecologist – dimensions of ecological thought. The Russian political theorist and polymath Peter Kropotkin (1842–1921) is a giant in the early formation of anarchism. I pay particular attention to the cultural implications and possible models both he and, later, Murray Bookchin (1921–2006) offer for the humanities and arts practice. Kropotkin looks at social organisation across the biosphere, from early forms of life on earth to medieval and recent

in The ecological eye
Der Blaue Reiter and its legacies

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Rebecca Binns

what constituted work and purpose in centralised, capitalist societies was unnecessary, as technology had developed to the point where material scarcity no longer underpinned human existence. As people were no longer driven by their need to struggle for essential resources, they were less easily controlled and manipulated by overarching structures, such as the Church, State, marketplace or patriarchal family. Bookchin therefore advocated anarchism as realisable for the first time due to this ‘post-scarcity’ situation. As such, the protagonists of the counterculture

in Gee Vaucher
Rebecca Binns

.2 Crass, Illustration on first inside flap to Crass’ album, The Feeding of the 5000 (Second Sitting) , Crass Records, 1981 Crass were distinct from most other punk bands in having what could loosely be termed a philosophy, arising from their lived as opposed to theoretical anarchism. This immediately distinguished them from the anarchy as posturing (using Situationist-inspired shock tactics) that characterised the Sex Pistols. 45

in Gee Vaucher
Abstract only
Abigail Susik

anarchism, illegalism (a philosophy that espoused criminal activity as a lifestyle), and leftist resistance in the years immediately following the war, and were also reflected in their approach to dada. 12 In their principled desertion of the national reconstruction effort, surrealists therefore attempted to abstain from complicity in many aspects of the capitalist system in which they paradoxically lived and produced, although that endeavour was rarely straightforward, and the results were often far from

in Surrealist sabotage and the war on work