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The bride stripped bare?
Elza Adamowicz

between Cubism and Futurism were thus both adversarial and dialogic, their manifestos and exhibition prefaces being the arena for the former, their practice the concretisation of the latter. The 1912 Futurist exhibition catalogue The Exhibitors to the Public, is thus prefaced by a violent criticism of Cubist paintings: They insist on painting what is immobile or frozen, and all of nature’s static aspects; they adore the traditionalism of a Poussin, Ingres, or Corot, ageing and petrifying their art with a backward-looking insistance. There is absolutely no doubt that the

in Back to the Futurists
The moral life and the state
Jeff Rosen

was dispatched from Bombay to render them in his own language. Circulating libraries loaned out the volume and its answers at 2d per day; it was displayed on railway bookstalls and hawked by newsboys along with Punch and The Times.’9 Significantly, criticism of Essays and Reviews created its own publishing event: by 1865, for example, some 400 books, pamphlets, and articles had been written about the essays and the essayists, both favourable and in opposition to the positions taken, which in turn provoked additional demand for the original volume.10 Cameron

in Julia Margaret Cameron’s ‘fancy subjects’
Frederick H. White

Lunacharskii’s literary criticism we find Andreev clearing corpses from the streets of a decaying and putrid society: While some of us, scenting the breath of the Plague, carry on a loathsome orgy of perverted instincts, and endeavor to warm up their benumbed sensuality by means of sodomy, Sadism, and all sorts of abomination; while others burn candles and send up smoke to heaven and into the eyes of their neighbors, lisping variegated psalms and sermons – Leonid Andreev, in a leather mask, black and terrible, with a long hook in his hands, goes up and down the city streets

in Degeneration, decadence and disease in the Russian fin de siècle
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

a charcoal drawing of a heroically goggled Chauffeur (Walsh 2002: 70). Lewis’s vocabulary also anticipates the line of criticism directed at Futurism which permeates the first issue of Blast, tellingly subtitled Review of the Great English Vortex and published at the beginning of July 1914. It was deliberately labelled a review, and not a ‘manifesto’, so as avoid sounding too indebted to the example of Futurism. Blast’s initial declamation ‘Long live the Vortex’ declared bluntly: We stand for the Reality of the Present – not for the sentimental Future … BLAST will

in Back to the Futurists
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Anne Ring Petersen

captured by binary thinking. There are several cores, many semi-peripheries and numerous local peripheries.47 The pitfalls of cultural identity The blind spots in the critique of Westernism remind us of the need for more complexity-sensitive methods and theories in the field of art history and art 79 80 Migration into art criticism. However, the development of such a conceptual apparatus would be beyond the scope of this study, as would the task of reconciling the dual demand for equality and difference, which is ‘the dilemma, the conundrum – the multi

in Migration into art
Abstract only
A new apology for the builder
Conor Lucey

criticism with respect to class-​based anxieties about the acquisition of taste: just as luxury consumption threatened the social order, so taste was regarded as the means to curtail its dissolution. Pierre Bourdieu argued that the struggle for social distinction is a primary feature of social life; consequently, taste becomes ‘not merely a reflection of class distinctions but the instrument by which they are created and maintained’.57 Jules Lubbock’s history of the discourse on consumer taste in modern Britain reveals that from the middle of the seventeenth century

in Building reputations
Abstract only
Towards creolizing transnational South Asian art histories
Alpesh Kantilal Patel

Gavin Butt meditates on the word ‘paradox’ – a word I use in my first sentence in this introduction – in relation 1 2 Productive failure to art criticism; I want to consider this idea in the context of writing art histories. In his introduction to his edited volume of essays, ‘The Paradoxes of Criticism’, Butt writes: This book considers criticism, then, in a defining relation to the paradoxical. Not paradox as in the strict sense of being logically contradictory … Rather that criticism, in order that it remain criticism, of necessity has to situate itself para

in Productive failure
Abstract only
Anish Kapoor as British/Asian/artist
Alpesh Kantilal Patel

conventional history of artworks of artists of South Asian descent. To reveal the slipperiness rather than the stability and knowability of the author, I hone in on the criticism of Anish Kapoor’s artworks. Kapoor is one of the most critically and commercially successful artists of Asian descent in the West. His career has spanned nearly four decades and has spawned numerous reviews and critical essays; this archive provides an unprecedented opportunity to explore the shifting manner in which critics have identified him. 2 22 Productive failure Unshackling the author

in Productive failure
Andrew Patrizio

environmental humanities by drawing selectively on existing work in the discipline. Building on canonical, largely male, approaches in Chapter 1 , the main aim of ecofeminism within this book is to show its power in theory, political philosophy and activism. I seek to align a prominent strand of political and cultural ecology – namely ecofeminism – with the huge contribution of feminism within art history and criticism. Surprisingly, there is very little if any material on this particular disciplinary boundary, even though the varied work of Lippard, Lacy, Krauss, Pollock

in The ecological eye