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Art and social change : a critical reader / edited by Will Bradley and Charles Esche.

Contributor(s): Material type: TextTextPublication details: London : Tate Publishing : In association with Afterall ; New York : Distributed in the United States and Canada by Harry N. Abrams, 2007.Description: 479 p. : ill. (some col.) ; 25 cmISBN:
  • 1854376268
  • 9781854376268 (pbk.)
Subject(s): DDC classification:
  • 700.103 BRA
Holdings
Item type Current library Call number Copy number Status Date due Barcode
2 Hour Loan LSAD Library Reserve - Library Issue Desk 700.103 BRA (Browse shelf(Opens below)) 1 Library Use Only 39002100417048

Enhanced descriptions from Syndetics:

The relationship between art and social and political change is not only a highly topical area of current debate, it is also fundamental to the history of modern art. This volume gathers together for the first time the essential texts that have defined this area since the late nineteenth century. Using primary sources, case studies, and new commissions, Art and Social Change provides an overview of the historical development of art with ideas of social and political change, from utopian imaginings to active engagement. Incorporating artists' writings and public statements, as well as critical and theoretical texts, the volume also highlights developments outside established Western art history.

Includes bibliographical references (p. 474-477) and index.

Table of contents provided by Syndetics

  • Preface (p. 7)
  • Introduction (p. 9)
  • Colour plates (p. 25)
  • Part I 1871
  • Letters, October 1870-April 1871 (p. 36)
  • 29 October 1870
  • 18 March 1871
  • 7 April 1871
  • 30 April 1871
  • Socialism from the Root Up (p. 410)
  • The Socialist Ideal: Art (p. 47)
  • The War in Paterson (p. 57)
  • Part II 1917
  • En Avant DADA: A History of Dadaism (p. 61)
  • Programme Declaration (p. 68)
  • A General Theory of Constructivism (p. 69)
  • Art and Propaganda (p. 74)
  • The End of Art (p. 76)
  • Art and Reality (p. 78)
  • Draft Manifesto (p. 86)
  • Open the Prisons! Disband the Army! (p. 91)
  • Revolution Now and Forever! (p. 92)
  • Cannibalist Manifesto (p. 94)
  • Deutschland Deutschland Uber Alles (p. 99)
  • Bauhaus no.3, The Students' Voice (p. 104)
  • The Fall of Hannes Meyer (p. 106)
  • Letter, August 1936 (p. 108)
  • We Ask Your Attention (p. 110)
  • Vision in Motion (p. 115)
  • Part III 1968
  • Theses on the Paris Commune Situationist International (p. 121)
  • Response to a Questionnaire from the Center for Socio-Experimental Art Situationist International (p. 125)
  • Statement (p. 130)
  • Art and Revolution (p. 132)
  • We Propose a Cultural Exchange (p. 134)
  • Psychedelic Manifesto (p. 137)
  • Hopes for Great Happenings (p. 141)
  • Guerrilla Theatre (p. 143)
  • Trip Without a Ticket (p. 146)
  • The Post-Competitive, Comparative Game of a Free City (p. 152)
  • 'Experience 68' (p. 157)
  • Tucuman Arde (p. 161)
  • Posters from the Revolution, Paris, May 1968 (p. 164)
  • Position Paper no.1: On Revolutionary Art (p. 166)
  • Art for the Peoples Sake (p. 171)
  • Letter, April 1968 (p. 174)
  • Manifesto for the Guerrilla Art Action Group (p. 175)
  • A Call for the Immediate Resignation of All the Rockefellers from the Board of Trustees of the Museum of Modern Art (p. 178)
  • Letter to Richard M. Nixon (p. 180)
  • Insertions into Ideological Circuits, 1970-75 (p. 181)
  • Radical Software, vol.1 no.1, The Alternate Television Movement (p. 188)
  • The Videosphere (p. 190)
  • Cybernetic Guerrilla Warfare (p. 191)
  • Proclamation of the Orange Free State (p. 196)
  • Call to the Artists of Latin America (p. 200)
  • Women's Art: A Manifesto (p. 202)
  • Notes on Street Art by the Brigadas Ramona Parra (p. 204)
  • Resolutions of the Third World (p. 206)
  • Press Release, September 1976 (p. 211)
  • Invisible Theatre (p. 213)
  • For Self-Management Art (p. 216)
  • The Sword is Mightier than the Swede? (p. 219)
  • Position Paper: Crossroads Community (The Farm) (p. 227)
  • Art Hysterical Notions of Progress and Culture (p. 230)
  • Ideology, Confrontation and Political Self-Awareness (p. 241)
  • The Docklands Photo-Murals (p. 245)
  • Dispatches from an Unofficial War Artist (p. 249)
  • Ten Items of the Covenant (p. 251)
  • Flyer for the Rev-Revue of Soc-Fashion (p. 255)
  • Operating Manual for Leszek MAJ (p. 257)
  • Part IV 1989
  • Geometric Retroabstraction (p. 260)
  • The Border Art Workshop/Taller De Arte Fronterizo (p. 271)
  • A Presentation Gran Fury (p. 277)
  • Rebellion on Level p (p. 283)
  • Popotla (p. 290)
  • Statement by the Feminist Artist (p. 293)
  • How To? (p. 297)
  • Politicising Sadness (p. 313)
  • Mayan Technologies and the Theory of Electronic Civil Disobedience (p. 319)
  • The Articulation of Protest (p. 332)
  • A Concise Lexicon of/for the Digital Commons (p. 340)
  • The Revenge of the Concept: Artistic Exchanges, Networked Resistance (p. 350)
  • Drifting Producers (p. 369)
  • There is no alternative: THE FUTURE IS SELF-ORGANISED (p. 378)
  • Part V Commissioned Essays
  • The Many ANDs of Art and Revolution (p. 384)
  • Rebuilding the Art of the People (p. 395)
  • Time Capsule (p. 408)
  • Secular Artist, Citizen Artist (p. 422)
  • Selling the Air: Notes on Art and the Desire for Social Change in Tehran (p. 440)
  • Line Describing A Curb Asymptotes about VALIE EXPORT, the New Urbanism and Contemporary Art (p. 447)
  • About the authors (p. 462)
  • About the editors (p. 463)
  • Notes (p. 464)
  • Bibliography (p. 474)
  • Index (p. 478)
  • Acknowledgements (p. 479)

Author notes provided by Syndetics

Will Bradley is a freelance writer, and curator at CCA Wattis Institute for Contemporary Arts, San Francisco. Charles Esche is director of the Van Abbemuseum, Eindhoven, and the co-curator of the Istanbul Biennale 2005.







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