An innovative history and critical account mapping the ways artistsand their works have engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism overthe past ninety years.
* Focuses on artists whose work expresses the concept ofrevolutionary social transformation
* Provides a strong historical narrative that adds structure andclarity
* Features a cogent and innovative critique of contemporary artand institutions
* Covers 100 years of art from Vladimir Tatlin’sconstructivist ‘Monument to the Third International’, to Picasso’s late 1940s commitment to Communism, to the Unilever Series sponsored Large Artworks installed at London’s Tate Modern since 2000.
* Includes the only substantial account in print of John Lennonand Yoko Ono’s 1969 Montreal ‘Bed-in’
* Offers an accessible description and interpretation of Debord’s ‘society of the spectacle’ theory
Jadual kandungan
List of Illustrations ix
Acknowledgements xi
Introduction: The World in a Work of Art 1
Global Order, Social Order, Visual Order 2
‘Globalization’ and ‘Globalism’ in Theory and Practice 10
Capitalism and Communism as (Failed) Utopian Totalities 16
Ideal and Real Collectivities 23
1 Spectacle, Social Transformation and Utopian Globalist Art34
Spectacular Cold War Communisms and Capitalisms 35
Alienation/Separation and State Power 44
System, Totality, Representation and the ‘Utopian Imaginary’ 51
The ‘Conquest of Space’, Spectacular Art and Globalist Vision 57
2 The Line of Liberation: Tatlin’s Tower and the Communist Construction of Global Revolution 76
Revolutionary Rupture, Structure and Sense 77
Space and Symbolism 85
Beyond Order 95
Collectivity and Necessity 103
3 Picasso for the Proletariat: ‘The Most Famous Communist in the World ‘118
Commitment to the Cause, Right or Wrong 119
Picasso as Screen 129
Image, Persona, Mediations 139
Picasso ‘ s Use and Exchange Value 147
4 Some Kind of Druid Dude: Joseph Beuys’s Liturgies of Freedom 165
Tatlin for the Television Generation 166
The Beuysian Spectacular Persona 171
The Spirit of the Earth 179
Process, Performance, Metabolic Transformation 185
Political Actions 191
5 ‘Bed-in’ as Gesamtkunstwerk: A Typical Morningin the Quest for World Peace 211
Sugar, Sugar 212
A Sequestered Zone of Peace 217
Just My Imagination 225
A Man from Liverpool and a Woman from Tokyo 229
6 Mother Nature on the Run: Austerity Globalist Depletions inthe 1970s 246
Transmission, Replacement, Negation, Deletion 247
West/East-North/South 253
Banality as Tactic 260
Austerity Globalism’s Body-Politic 265
‘Development’ Exposed 272
7 Nomadic Globalism: Scenographica in Christo and Jeanne-Claude’s Wrapped Reichstag 287
The Negation Negated 288
Art, Business, Diplomacy 292
The Materials of Spectacle 296
Form as Sedimented Content 299
Seductive Acts of Occlusion 306
Conclusion: From the Spiral to the Turbine: A Global Warning316
Large Rooms Full of Wonderful Curiosities 317
The Void of Possibilities 320
Disappeared 323
Index 333
Mengenai Pengarang
Jonathan Harris is Professor in Global Art and Design Studies at Winchester School of Art, University of Southampton, UK.Prof. Harris’s work has consistently explored questions ofstate power, culture, art, ideology and social order, particularlyin Europe and America over the last century. His The New Art History: A Critical Introduction (2001) remains a classic text, and he has published 17 books as editor, author and co-author, including Globalization and Contemporary Art(Wiley-Blackwell, 2011).
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