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005 20250728144447.0
008 180712s2018 nyum a000 0 eng
010 _a2018033417
016 7 _a019142591
_2Uk
020 _a9781941701904
_qpaperback
020 _a1941701906
_qpaperback
024 8 _a40028896144
035 _a(OCoLC)1044770716
040 _aDLC
_beng
_cDLC
_dERASA
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041 0 _aeng
042 _apcc
049 _aBAUN_MERKEZ
050 0 0 _aN72.P6
_bV58 2018
100 1 _aViveros-Faune, Christian
_eaut
_9121756
245 1 0 _aSocial forms :
_ba short history of political art /
_cChristian Viveros-Fauné.
264 1 _aNew York, New York :
_bDavid Zwirner Books,
_c[2018]
300 _a1 volume (unnumbered pages) :
_billustrations (chiefly color) ;
_c21 cm.
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
505 0 0 _tIntroduction
_t-- Francisco de Goya y Lucientes: The Disasters of War (1810-20, published 1863)
_t-- Eugène Delacroix: July 28: Liberty Leading the People (1830)
_t-- J.M.W. Turner: Slave Ship (Slavers Throwing Overboard the Dead and the Dying, Typhoon coming On) (1840)
_t-- Gustave Courbet: The Stone Breakers (1849)
_t-- Honoré Daumier: The Third Class Carriage (c. 1862-64)
_t-- Édouard Manet: The Execution of Emperor Maximilian (1868-69)
_t-- Käthe Kollwitz: Memorial Sheet for Karl Liebknecht (1920)
_t-- Vladimir Tatlin: Monument to the Third International (1920) ; George Grosz: Ecce Homo (1922-23)
_t-- Max Beckmann: Departure (1932-35)
_t-- Walker Evans: Bud Fields and His Family, Hale County, Alabama (1936, published 1941)
_t-- Pablo Picasso: Guernica (1937)
_t-- José Clemente Orozco: Carnival of Ideologies (1937-39)
_t-- Jacob Lawrence: The Migration Series (1940-41)
_t-- Robert Motherwell: Elegy to the Spanish Republic No. 70 (1961)
_t-- Robert Rauschenberg: Retroactive I (1963)
_t-- Andy Warhol: Orange Disaster #5 (1963)
_t-- Ed Ruscha: The Los Angeles County Museum on Fire (1965-68)
_t-- Grupo de Artistas de Vanguardia: Tucumán arde (1968)
_t-- Art Workers' Coalition Q. and babies? A. And babies. (1969)
_t-- Cildo Meireles: Insertions into Ideological Circuits: Coca-Cola Projeect (1970)
_t-- Hans Haacke: Shapolsky and others Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (1971)
_t-- Philip Guston: San Clemente (1975)
_t-- Cindy Sherman: Untitled Film Stills (1977-80)
_t-- Jenny Holzer: Truisms (1978-87) --
505 0 0 _tRobert Mapplethorpe: Man in Polyester Suit, 1980 (1980)
_t-- Joseph Beuys: 7000 Oaks (1982)
_t-- Adrian Piper: My Calling (Card) #1 and #2 (1986-90)
_t-- Barbara Kruger: Untitled (We Don't Need Another Hero) (1987)
_t-- The Silence=Death Project: SILENCE=DEATH (1987)
_t-- Felix Gonzalez-Torres: "Untitled" (Perfect Lovers) (1987-90)
_t-- Gerhard Richter: October 18, 1977 (1988)
_t-- Guerrilla Girls: Do women have to be naked to get into the Met. Museum? (1989)
_t-- David Hammons: In the Hood (1993)
_t-- Shirin Neshat: Women of Allah (1993-97)
_t-- Rick Lowe: Project Row Houses (1993-ongoing)
_t-- Kara Walker: Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart (1994)
_t-- Chris Ofili: The Holy Virgin Mary (1996)
_t-- Francis Alÿs: Re-enactments (2000)
_t-- Bansky: Flower Thrower (2003)
_t-- Kerry James Marshall: Black Painting (2003-6)
_t-- Paul Chan: Waiting for Godot in New Orleans (2007)
_t-- Shepard Fairey: (after Mannie Garcia) Barack Obama "HOPE" (2008)
_t-- Ai Weiwei: Remembering (2009)
_t-- Tania Bruguera: Tatlin's Whisper #6 (Havana Version (2009/2014)
_t-- Pussy Riot: Christ the Savious Cathedral Performance (2012)
_t-- Thomas Hirschhorn: Gramsci Monument (2013)
_t-- SUPERFLEX: Hospital Equipment (2014-15)
_t-- Charlie Hebdo: Cover of No. 1178, January 14, 2015 (2015)
_t-- Theaster Gates: Stony Island Arts Bank (2015-ongoing)
520 8 _aIn 'Social Forms: A Short History of Political Art', renowned critic, curator and writer Christian Viveros-Fauné has picked 50 representative artworks --from Francisco de Goya's The Disasters of War (1810-20) to David Hammons' In the Hood (1993)-- that give voice to some of modern art's strongest calls to political action.0In accessible and witty entries on each piece, Viveros-Fauné paints a picture of the context in which each work was created, the artist's background and the historical impact of each contribution. Sometimes artists create projects that subvert existing power structures; sometimes they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso's Guernica and its place at the 1937 World's Fair, or Jenny Holzer's Truisms (1977-79), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with.
650 0 _aArt
_xPolitical aspects.
_922067
650 0 _aArt, Modern
_y20th century
_xThemes, motives
_9286
942 _2lcc
_cKT
999 _c94151
_d94151