An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today’s city. These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists’ resolve to work outside the market and citizens’ spirited defenses of green spaces, affordable housing, and collectivist projects. With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners’ historic embrace of care, solidarity, and cooperation.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...