ReNew Marxist Art History
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From the early decades of the twentieth century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics. In the wake of the recent global crisis there has been a resurgence of interest in Marx. Now available in paperback, this collection of essays, a festschrift in honor of leading Marxist art historian Andrew Hemingway, brings together 30 academics who are reshaping art history along Marxist lines. The essayists include Matthew Beaumont, Warren Carter, Michael Corris, Gail Day, Paul Jaskot, Stewart Martin, Frederic J. Schwartz, Caroline Arscott, Steve Edwards, Charles Ford, Brian Foss, Tom Gretton, Alan Wallach, Michael Bird, Martin I. Gaughan, Barnaby Haran and Fred Orton, among others.
achieved passage into heaven have slipped the earthly Church’s attention; and on 2 November, to pray, in a portmanteau memento mori, for the souls of all the departed, whatever their destination. By emphasizing the inevitability and the imminence of the passage between this world and the next, the festival asserts and maintains the difference between them. In Mexico the festival concentrates on the souls more than on the saints. Its dominant ritual takes the form of a visit to the graves of
faced the challenge of this dialectic by developing the aesthetic concept of anti-art. From now on, no art will be conceivable without the moment of anti-art. This means no less than that art has to go beyond its own concept in order to remain faithful to itself.’ Theodor W. Adorno, Aesthetic Theory, trans. C. Lenhardt (Routledge & Kegan Paul: London and New York, 1986), p. 42–3. 18 Revolution und Realismus, op. cit., p. 86. 19 Kambas, Die Werkstatt als Utopie, op. cit., p. 203. 20 Details
power itself and in itself’. At the same time he was deeply critical of the formalist denial of depiction by artists ‘who only manipulate materials’. John D. Morse (ed.), Ben Shahn (Praeger: New York and Washington, 1972), pp. 85, 83. 40 Fairfield Porter, ‘Evergood Paints a Picture’, Art News, vol. 50 (January 1952), pp. 30–3, 55–6. 41 Peter Selz (ed.), The Work of Jean Dubuffet (Museum of Modern Art: New York, 1962), p. 72; see also Potts, Experiments, op. cit., pp. 138–45. 42 He offered
same sort of global attention that any comparable Western artist would have enjoyed. Despite this, and although she had long benefited from the support of a circle of art-world insiders (museum directors, critics and curators included), the media coverage of her work and the critical writing it inspired had remained surprisingly limited. This had nothing directly to do with the quality of her work, but more with the hegemonics, economic and cultural, of the Western art world. The art support
among historians of the fin de siècle in England that Pater is not susceptible to a political interpretation. This is in part no doubt because the biographical record is so scant. It is also, more importantly, because his writings appear to retreat self-consciously from politics into aesthetics. Traditional scholars of aestheticism have tended simply to accept this impression, overlooking the fact that no movement is more political than one that strives to retreat from politics into aesthetics