Category: Volume 5 Issue 1

This review of Antipolitics in Central European Art: Reticence as Dissidence under Post-Totalitarian Rule 1956–1989 by Klara Kemp-Welch situates the book in the existing literature and discussions of post-war unofficial art in Central Europe and assesses the book’s significant contributions, which include a transnational approach, an extensive analysis of six oeuvres created by unofficial artists through their socio-political contexts, and a rigorous interpretive framework built around the titular concept of “antipolitics,” which Kemp-Welch borrows from the Hungarian dissident writer György Konrád. The review, however, also suggests that applying a framework rooted in the writings of political dissidents to unofficial art … Read more

Art in Egypt during the first half of the twentieth century has frequently been understood as closely tied to Egyptian nationalism, emerging suddenly in 1908 with the founding of the Cairo School of Fine Arts to provide the nation with visual representations. I look at art writing during the first half of the twentieth century in both the Arabic and French-language Egyptian press to show instead that a public discourse surrounding the fine arts emerged slowly over the course of several decades to constitute a locus for the negotiation of mutually constitutive cosmopolitan and national subject positions. Through their work, … Read more

This essay analyzes three polemic newspaper articles written in the early 1950s by the art critic, gallerist, and future Turkish prime minister Bülent Ecevit (1925–2006), “Artistic Awakening in Ankara” (1953), “The Artist and Politics” (1954), and “The Burden of the Intellectual” (1956). It argues that Ecevit’s articles document a local intelligentsia’s efforts to theorize the role of art in Turkish society at a crucial moment of political transformation. As Turkey abandoned its authoritarian past in order to conduct its inaugural experiment with multi-party democracy, Ecevit’s columns took up two of the period’s most pressing questions: the extent to which the … Read more

Trading Lines is a photo essay that tracks nearly twenty years of research within international museums as well as collecting and sharing photographs and objects. This research began in 1996 at the Royal Albert Memorial Museum, Exeter, where I encountered an Aboriginal skull from N.S.W. Australia —that was part of the active international Aboriginal human remains trade activated from the early 18th century. This photo essay shares correspondence between myself and private and public collection managers and collectors. Some images are from actual installations where I have combined objects with artworks, as a whole, it is an attempt to draw … Read more

This article examines Cildo Meireles’s refusal to describe Red Shift, his 1984 installation, as conceptual, political art. I use his rejection of these terms to reconsider conventional categories of the political in Latin American conceptualism as these have been historicized in the late 1990s and early 2000s. I argue that the artist builds his notions of conceptual and political art based on socio-artistic theories propagated in the short-lived but highly influential publication, Malasartes. This groundbreaking magazine, founded by Meireles and eight others in 1975, published texts crucial to Brazilian art history and translated international articles. These shaped the theoretical ideas … Read more

This essay analyzes three polemic newspaper articles written in the early 1950s by the art critic, gallerist, and future Turkish prime minister Bülent Ecevit (1925–2006), “Artistic Awakening in Ankara” (1953), “The Artist and Politics” (1954), and “The Burden of the Intellectual” (1956). It argues that Ecevit’s articles document a local intelligentsia’s efforts to theorize the role of art in Turkish society at a crucial moment of political transformation. As Turkey abandoned its authoritarian past in order to conduct its inaugural experiment with multi-party democracy, Ecevit’s columns took up two of the period’s most pressing questions: the extent to which the … Read more

This essay analyzes three polemic newspaper articles written in the early 1950s by the art critic, gallerist, and future Turkish prime minister Bülent Ecevit (1925–2006), “Artistic Awakening in Ankara” (1953), “The Artist and Politics” (1954), and “The Burden of the Intellectual” (1956). It argues that Ecevit’s articles document a local intelligentsia’s efforts to theorize the role of art in Turkish society at a crucial moment of political transformation. As Turkey abandoned its authoritarian past in order to conduct its inaugural experiment with multi-party democracy, Ecevit’s columns took up two of the period’s most pressing questions: the extent to which the … Read more

This essay analyzes three polemic newspaper articles written in the early 1950s by the art critic, gallerist, and future Turkish prime minister Bülent Ecevit (1925–2006), “Artistic Awakening in Ankara” (1953), “The Artist and Politics” (1954), and “The Burden of the Intellectual” (1956). It argues that Ecevit’s articles document a local intelligentsia’s efforts to theorize the role of art in Turkish society at a crucial moment of political transformation. As Turkey abandoned its authoritarian past in order to conduct its inaugural experiment with multi-party democracy, Ecevit’s columns took up two of the period’s most pressing questions: the extent to which the … Read more

This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry’s deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning … Read more