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Der Blaue Reiter and its legacies
Author: Dorothy Price

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.

Abstract only
Jane Roscoe and Craig Hight

prefab four: Dirk, Nasty, Stig and Barry, who made the sixties what they are today. The fabulous Rutles. The most telling line from this opening caption is probably ‘the group who made the sixties what they are today’, which carries the suggestion that the sixties are typically reconstructed through a familiar series of icons. The objective of

in Faking it
Colette Gaiter

-backed corrupt Batista regime, were key protagonists of a diverse multinational network fighting for worldwide liberation of ‘coloured’ people. However, some believed – as David Crowley wrote in The Sixties: A Worldwide Happening – that the Panthers had a ‘somewhat incomplete global consciousness and were often blind to the injustice and violence being done in the name of progress by other revolutionary states (usually to their own populations)’.9 In visualising their US revolution, the Black Panthers followed Malcolm X’s statement in a 1964 speech that ‘We [Black Power

in Art, Global Maoism and the Chinese Cultural Revolution
Open Access (free)
Janet Wolff

, whether old or ill. I hope this letter reaches you safe and legible. Many warm greetings and kisses. Your mother. There follows a short paragraph from Fanny Maier to her family, telling of the sixty-hour unbroken train journey. Poignantly she says that the thought of seeing their loved ones soon lightens their stay, and that they don’t let their courage fail. She reports that there are visiting hours with the men, in the neighbouring barracks. This, I assume is the Fanny Maier from the Offenburg photo. She was to remain Leonie’s close companion through the following

in Austerity baby
From the 1960s to the 1990s
Nizan Shaked

as a revolutionary one. The political rhetoric of both has been directly influential on the field of art. Organised in 1991 by art historian Michele Wallace, the ground-breaking symposium “Black Popular Culture” offered an interdisciplinary comparison of questions surrounding “black nationalism, essentialism and Pan-Africanism.”13 In her presentation “Black Nationalism: the Sixties and the Nineties” Angela Davis recalled the development of her political position from identity politics to communism, showing how ideas morphed, how complex and contradictory

in The synthetic proposition
Conceptualism as political art
Nizan Shaked

(Boston: Little Brown and Company, 1995), 173–216. 26 Wallace, “Reading 1968 and the Great American Whitewash,” 108. Wallace’s powerful criticism of the erasure of minority contribution, especially the central place of African Americans in the much-mythologised social movements of the 1960s is correct in my opinion, and her work at large has influenced my thinking. Yet, in defence of Todd Gitlin’s The Sixties: Years of Hope, Days of Rage (New York: Bantam Books, 1993), I must cite his recognition that: “Youth culture might have remained just that—the traditional

in The synthetic proposition
Catherine Spencer

, particularly by Claire Bishop, who deploys Ernesto Laclau and Chantal Mouffe’s writings on political hegemony to argue that antagonism and conflict are vital to relational art’s democratic function, but also by scholars of the early Happenings, such as Rodenbeck, who have emphasised their coercive aspects. Claire Bishop, ‘Antagonism and Relational Aesthetics’, October 110 (Autumn 2004): 51–79 (65–7); and Rodenbeck, Radical Prototypes , particularly 241–55. 70 On the Diggers’ ‘free’ network, see Karen M. Staller , Runaways: How the Sixties Counterculture Shaped

in Beyond the Happening
Abstract only
The art of contradiction
Jacopo Galimberti, Noemi de Haro García and Victoria H. F. Scott

Christopher Leigh Connery, ‘The World Sixties’, in Rob Wilson and Christopher Leigh Connery (eds), The Worlding Project: Doing Cultural Studies in the Era of Globalization (Berkeley: North Atlantic Books, 2007), 78. 9 Fredric Jameson, ‘Periodizing the Sixties’, in Sohnya Sayres et al. (eds), The 60s Without Apology (Minneapolis: University of Minnesota Press in cooperation with Social Text, 1984), 189. 10 See, for example, the use of this notion in publications such as Connery, ‘The World Sixties’, 77–107; the special issue entitled ‘Global Maoism and Cultural

in Art, Global Maoism and the Chinese Cultural Revolution
Lourdes Castro and Manuel Zimbro’s Un autre livre rouge
Ana Bigotte Vieira and André Silveira

Conceptual Art (Cambridge, MA, and London: MIT Press, 2006), 29–30. 5 Chris Marker, Le fond de l’air est rouge: scènes de la troisième guerre mondiale 1967–1977 (Paris: François Maspero, 1978), 5; Traverso, Malinconia di sinistra. 6 By 1961, when the Colonial War began, the Portuguese State of India included Goa, Daman and Diu. In the previous decade, in 1954, Portugal had already lost control over the Dadra and Nagar Haveli enclaves. 7 Fredric Jameson, ‘Periodizing the Sixties’, in Sohnya Sayres et al. (eds), The 60s Without Apology (Minneapolis: University of

in Art, Global Maoism and the Chinese Cultural Revolution
The challenge of a globalising world
Caroline Turner and Jen Webb

society. He is interested in moral and ethical dilemmas in confronting catastrophic situations, and his art engages the ambiguities and uncertainties of the human condition and of history, in an attempt to ‘reawaken an intrinsic ethical impulse in the present’.101 An important work that emerged from that attempt was John Young’s installation Bonhoeffer in Harlem (2009). It commemorates the sixty-fourth anniversary of the execution of German Lutheran theologian, pastor and finally martyr, Dietrich Bonhoeffer. Originally designed for St Matthauskirche, Kulturforum, Berlin

in Art and human rights