Politics and Public Policy

Abstract

Donnersmarck's The Lives of Others has been widely praised as the first German film to confront the horrors of the East German communist regime. But the film's politics may be ambiguous. As critical as it is of East Germany, it does not offer a ringing endorsement of West Germany. For example, the film's playwright-hero seems to have artistic problems in the West, just as he did in the East. The film's equivocal attitude toward communism is epitomized by its apparently positive view of the Marxist author Bertolt Brecht. This essay compares The Lives of Others with Brecht's play The Good Person of Szechwan in an effort to understand Donnersmarck's attitude toward his East German predecessor and what it means for his larger view of communism and its relation to art.     

The Concept of Corruption in J.G.A. Pocock's The Machiavellian Moment

SUMMARY

In the scholarship on the concept of political corruption, one frequently encounters the lamentation that the manner in which the concept is deployed in liberal modernity is insufficiently attuned to the richer sense in which the term was employed in the ‘civic humanist’ tradition. In these lamentations, the usual point of reference is J.G.A. Pocock's The Machiavellian Moment, a work that made corruption the central term of art in a political language stretching from the Renaissance to the eighteenth century and beyond. Certainly there is something quite attractive today about the ‘Machiavellian’ inflection of the term—our era is replete with the very things the protagonists of Pocock's story decried: debt, dependency, oligarchy, standing armies and the diminution of civic duties. But to what extent is Pocock's classic text a reliable guide for those studying the concept of corruption? This article suggests that Pocock uses the term in an excessively capacious manner, which both weakens his book's utility for understanding eighteenth-century political thought and undermines its power as a foundation for political critique by civic-minded anti-corruption reformers.     

Art,Transformation, Liberation: Balzac's Eugénie Grandet

Balzac's works about actual artists like Le Chef d’oeuvre inconnu have long been studied to derive the author's ideas about the artistic creative process. Eugénie Grandet also deals with art, however, even though there is not a real artist in it. In telling the story of Eugénie and her cousin Charles, Balzac suggests his views on the effects of beauty created by artful arrangement as opposed to the beauty in nature uncrafted by human art.     

Reading versus Seeing? Winckelmann's Excerpting Practice and the Genealogy of Art History

From his arrival in Italy in 1755, Winckelmann's work is infused throughout by a fundamental antinomy: reading versus seeing. This antinomy possesses for him a decidedly epistemological significance: it allows him to present himself as the father of a discipline deserving of its name, i.e., the history of art. In Geschichte der Kunst des Alterthums (1764), he claims to break with a long tradition of art discourse which had been primarily supported by ancient texts, basing his book instead on the direct observation of the artworks. The aim of this paper is to critically examine this antinomy. How does seeing relate to reading in his working method? What relationship does art history, in the empirical dimension Winckelmann wanted to give it, have to book knowledge? Winckelmann's excerpts collection provides valuable answers to these questions. Following an old scholarly tradition, Winckelmann used to write down passages of his readings, constituting a vast handwritten library of excerpts which never left him. The result of this intense excerpting practice consists in some 7,500 pages, which allow to better define the share of empirical observation and book-based knowledge in his approach to ancient art.     

Lincoln's Reflective Patriotism

Abstract

In speech and deed, Lincoln's statesmanship manifests the possibility of an honorable, reasonable, and just love of country—that is, a reflective patriotism imbued by a republican love of liberty under God's Providence. In his speeches and writings, Lincoln consistently underscored that love of country must be governed by “reason,” “wisdom,” and “intelligence.” Thus, in his First Inaugural, March 4, 1861, he characteristically appealed to the combined forces of “Intelligence, patriotism, Christianity, and a firm reliance on Him, who has never yet forsaken this favored land.” Lincoln's reflective patriotism was nurtured by his gratitude to the Founders and measured by his fidelity to a national Union dedicated to the universal moral principles of the Declaration under the particular rule of law established by the Constitution. Historically, it was articulated as an alternative to rival forms of allegiance that Lincoln opposed as both unjust and unreasonable during the Civil War era—namely, sectionalism, nativism, and the imperialism of Manifest Destiny. Each of these disordered forms of love threatened the inseparable moral and fraternal bonds of liberty and Union that Lincoln sought to perpetuate through an ordinate love of country guided by wisdom and critical self-awareness. Lincoln's Eulogy to Henry Clay, June 6, 1852 provides the most cogent expression of his reflective patriotism.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

Fictive Layering and Inversion in the Paintings of Ali-Akbar Sadeghi

In Iran surrealism is spoken of by artists and critics as a living element in art, long after its popularity in Europe and North America has waned. This article explores key features of the work of one of the most prolific contemporary Iranian artists, Ali-Akbar Sadeghi. While Sadeghi says that he thinks of himself as a “surrealist,” his work is distinguished from many self-professed surrealists in Iran: whereas the latter are concerned with representing metaphysical, even mystical, meanings, Sadeghi sees his art as a kind of intellectual exercise, presenting a dramatic theater in which the viewer engages in epistemological interrogation. Though Sadeghi's paintings are full of apparent references to surrealist themes and tropes from the past, here it is argued that his work is not so much a storehouse of surrealist content as a series of puzzles for the viewer to solve.     

Continental Drift: Negotiating Male Performance in Canadian and American Cinema from the Late Sixties

Michel Brault's Entre la mer et l'eau douce (1967), one of the most accomplished feature films of the Quiet Revolution period, follows the journey of singer-songwriter Claude Fournier from the Charlevoix region to Montreal, where he drifts through a series of marginal jobs and love relationships before returning, disappointed, to his rural village. A portrait of “in-betweenness” in terms of identity, space and time, Brault's film tells the story of Quebec's increasing urbanization and of a people's collective entry into modernity, yet has received much less critical attention than other Quiet Revolution classics such as [Agrave] tout prendre and Le chat dans le sac. This article proposes a reading of this film that recognizes its importance as a key cinematic stepping stone in the Quebec national project, but also places it within a larger context of “coming-to-the-city” narratives. How does comparing Entre la mer et l'eau douce to English-Canadian and American classics which tackle similar themes (i.e., Goin' Down the Road, 1970; Midnight Cowboy, 1969) enable a larger discussion of the representation and appropriation of space, place and movement in the North America imaginary and Quebec's place therein?     

Systems theory,systems art and the computer: Ernest Edmonds interviewed by Francesca Franco

ABSTRACT

This interview with Edmonds, conducted by Franco in 2016, explores how Systems art, Systems Theory, and his personal relationships with artists such as Malcolm Hughes, Kenneth Martin and Edward Ihnatowicz influenced his art practice.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

Sentire Cum Brownsone: “Brownson’s Political Philosophy,Republican and Christian”

Abstract

Sentire cum Brownsone provides an exposition of the political philosophy of Orestes Brownson (1803–1876). Negatively, his disagreements with modern social contract theory and its underlying anthropology are laid out, while positively, his key concepts – the unwritten constitution, territorial democracy, and the American Republic – are unpacked. His thinking about the complex relationship between Christianity and America's constitutional order is also highlighted.     

Wuming: an underground art group during the Cultural Revolution

The Wuming painting group opened its first public exhibition in Beijing in 1979. The hundreds of small paintings exhibited were accumulated through years of clandestine art practice stretching back to the beginning of the Cultural Revolution. This article traces the history of the Wuming group and its art – describing the social identities of the artists, exploring the historical context of the group's formation, reconstructing the underground art and cultural activities, and contextualizing the group's artistic innovations. The history of this underground art group addresses larger debates over Chinese modernity, and over the interpretation of the history of the Cultural Revolution in today's global context.     

The Art of Contested Histories: In Pursuit of Venus [Infected] and the Pacific Legacy

ABSTRACT

European artists of the eighteenth century framed an exotic textual and visual narrative of the Pacific, drawing largely on knowledge gained from exploratory journeys of the 1760s and 1770s. Visual representations of the Pacific became socially fashionable and commercially successful. The French wallpaper manufacturer, Dufour, captured this commercial potential in a dramatic, panoramic wallpaper that told stories of European encounters with Pacific peoples: Les Sauvages de la Mer Pacifique (1804). Yet it was selective, defining the Pacific by moments of contact with Cook and other explorers. Lisa Reihana's In Pursuit of Venus [Infected] (2015–17) dramatically interrogates the eighteenth-century narrative of the Pacific, responding to Dufour's wallpaper in a complex, panoramic work. By attending to ways in which the factual and speculative are brought together in Enlightenment artefacts and Reihana's restaging of them, we explore how art might be put to use in the service of historical interpretation.     

The Reappearing Masterpiece: Ranking American Artists and Art Works of the Late Twentieth Century

A survey of the illustrations in textbooks of modern art produces the startling finding that art scholars consider Robert Smithson's Spiral Jetty to be the most important individual work made by an American artist during the past 150 years. More generally, quantifying the evidence of the textbooks reveals the source of the pluralism, or stylistic incoherence, of American art since the late 1960s. A persistently high demand for artistic innovation has produced a regime in which conceptual approaches have predominated. The art world has consequently been flooded by a series of new ideas, often embodied in individual works, usually made by young artists who have failed to make more than one significant contribution in their careers. The monumental Spiral Jetty, made in 1970 by a young artist who was killed soon thereafter while in the process of making his art, brought together a remarkable number of the central themes of the advanced art of the time and has become a symbol for that art.     

Jean Renoir,The Rules of the Game,Reputation, and Revisionism

Jean Renoir's film La Règle du jeu (The Rules of the Game) was first shown in Paris, in 1939, and is now generally regarded as one of his masterpieces. But there is a strange side to the film. What most critics and reference books say concerning it—and they tend to say much the same thing—does not, to put it bluntly, square with the facts. What they say is that La Règle du jeu is about an aristocratic house-party that is a microcosm of the corruptness and exhaustion of French society on the eve of World War II. Far from perceiving in La Règle du jeu evidence of the “corruption” and “exhaustion” in French society that led to the country's defeat and occupation by the Germans during World War II, however, the author of this essay attempts to see the film for what it is—not for what historicist critics want it to be.     

The Car and its Artists

Abstract

Since the beginning of the carrage, coincident with the fin du siècle, car art has been as much in flux and reflux as the car's technology itself. Many eminent painters have at least flirted with automobile matters, great impressionists as well as modern pop artists, and between them, say from 1910 to 1960, there existed the golden age of the great illustrators and poster men. Each one of these has left us a different image of what the car meant to him and thi review attempt to project some of these images. It must be more than coincidence that the first and the last illustrations here show a car as an objet d'art.     

Spinoza's counter-aesthetics

ABSTRACT

Spinoza says very little about art or literature in his work; a fact which partly explains the absence of references to him by the German initiators of aesthetics in the eighteenth century, including Baumgarten, Kant and Hegel. Spinoza's resolute opposition to teleology, however, provides an even more compelling reason for his absence, given the teleological conception of literary and artistic form common to the notion of aesthetics at the time of its emergence. Is it possible to fashion a counter-aesthetics from the materials provided by Spinoza's philosophy? I argue that his reading of the great Spanish Baroque writers, especially Luis de Góngora and Baltasar Gracián (whose works were found in his library), provided him with an alternative conception of literary form based on a rejection of formal coherence and closure in favor of constitutive incompleteness and an opening to the infinite.     

American Historical Demography: A Review Essay

Abstract

American historians of modern art routinely assume that after World War II New York replaced Paris as the center of the western art world. An analysis of the illustrations in French textbooks shows that French art scholars disagree: they rate Jean Dubuffet as the most important painter of the era, ahead of Jackson Pollock, and they consider Yves Klein's anthropometries of 1960 as the greatest contribution of a single year, in front of Andy Warhol's innovations in Pop Art. Yet the French texts also show that the French artists' practices and conceptions of art paralleled those of the Americans. Thus, whereas French and American scholars disagree over the relative importance of their nations' artists, there is no disagreement that the most important art of the 1950s was produced by experimental seekers, and that of the 1960s by conceptual finders.     

COUNTRY HOUSE POEMS: THE POLITICS OF A GENRE

Abstract

The St. Louis Art Museum’s statue of Reclining Pan proved inspirational to many artists of the seventeenth century, none more so than Giovanni Benedetto Castiglione. The artist reproduced the statue in many of his works, making it a symbol of his invenzione. Previously, the few reproductions known of the statue have given the impression that Baroque audiences considered it antiquwct 2 e, and of less interest than other antiquities. This article corrects that assumption by examining Castiglione’s, as well as Peter Paul Rubens’, Joachim von Sandrart’s, Nicolas Poussin’s, and Salvator Rosa’s uses of the statue. The artists used the Pan as both figural exemplar and symbol for pastoral themes. These artistic responses are here set alongside new information concerning the Pan’s seventeenth-century provenance, display, and attribution to Bernini, to reveal the Reclining Pan as a primary catalyst for the period’s extensive Arcadian and bacchanalian imagery while simultaneously representing lessons of the classical style.