When art hits the headlines, it is usually because it has caused offence or is perceived by the media to have shock-value. Over the last fifty years many artists have been censored, vilified, accused of blasphemy and obscenity, threatened with violence, prosecuted and even imprisoned. Their work has been trashed by the media and physically attacked by the public.
In Art & Outrage, John A. Walker covers the period from the late 1940s to the 1990s to provide the first detailed survey of the most prominent cases of art that has scandalised. The work of some of Britain’s leading, and less well known, painters and sculptors of the postwar period is considered, such as Richard Hamilton, Bryan Organ, Rachel Whiteread, Reg Butler, Damien Hirst, Jamie Wagg, Barry Flanagan and Antony Gormley. Included are works made famous by the media, such as Carl Andre’s Tate Gallery installation of 120 bricks, Rick Gibson’s foetus earrings, Anthony-Noel Kelly’s cast body-parts sculptures and Marcus Harvey’s portrait of Myra Hindley. Walker describes how each incident emerged, considers the arguments for and against, and examines how each was concluded. While broadly sympathetic to radical contemporary art, Walker has some residual sympathy for the layperson’s bafflement and antagonism. This is a scholarly yet accessible study of the interface between art, society and mass media which offers an alternative history of postwar British art and attitudes.
Until the suppression of the Society of Jesus in 1773 by Pope Clement XIV, the Jesuits had been the undisputed “schoolmasters of Europe.” In France, especially, the educational system of the Society had attained its most widespread development and its greatest fame. The nineteenth-century colleges, formed after the revival of the Society in 1814, never reached the number, size, or influence of their predecessors; but for their time and for the new obstacles they faced, these schools were important. Founded during a period of growing secularization, they faced the constant threat of political attack. Indeed, both their admirers and their critics believed that the Jesuit schools fostered in their graduates distinctive attitudes toward state and society.
John W. Padberg, S.J., has written the first full-length study of these colleges, from their revival in 1815 to their suppression in 1880. Drawing almost exclusively on archival material not previously utilized, Father Padberg places his study against the background of anti-clericalism, revolution, the Second Empire, and the first decade of the Third Republic. He describes the founding of the schools; their resources; their curriculum structure and content; their inner life—religious practices, the daily order, the social structure; and their relation to the political and social milieu of the times. He also discusses the backgrounds and ideological orientations of the faculty and students.
The author first portrays life in the semi-clandestine seminary schools in France from 1815 to 1828. He then depicts the experiences of the exile colleges on the borders of France. With the passage of the Falloux Law of 1850, Jesuit colleges became legal in France for the first time since the 18th century. Father Padberg describes the subsequent rush to found new schools and the resultant problems of lack of personnel, financial crises, and governmental suspicion. He discusses in detail the inner lives of these seventeen new colleges.
During the early years of the Third Republic, the Jesuits founded eleven more colleges. But the mutual fear and misunderstanding between the Society and the Republic and the growing anti-clericalism of the government came to a climax in 1880, when Jules Ferry expelled the Jesuits from these institutions and made impossible their control over any such schools in France.
Father Padberg concludes that during these sixty-five years the French Jesuit schools had little room to maneuver. Externally, government suspicion and hostility circumscribed them. Internally, they reacted to this hostility, which antedated the French Revolution, by the inability to adapt to contemporary circumstances their commitment to the values of a humane and Christian education.
A trusted advisor to Presidents Eisenhower, Kennedy, and Johnson and one of America's leading professors of economic history, W. W. Rostow has helped shape the intellectual debate and governmental policies on major economic, political, and military issues since World War II. In this thought-provoking memoir, he takes a retrospective look at eleven key policy problems with which he has been involved to show how ideas flow into concrete action and how actions taken or not taken in the short term actually determine the long run that we call "the future."
The issues that Rostow discusses are these:
In discussing how he and others have worked to meet these challenges, Rostow builds a compelling case for including long-term forces in the making of current policy. He concludes his memoir with provocative reflections on the twentieth and twenty-first centuries and on how individual actors shape history.
Many studies have shown that images—their presence in the daily lives of the faithful, the means used to control them, and their adaptation to secular uses—were at the heart of the Reformation crisis in northern Europe. But the question as it affects the art of Italy has been raised only in highly specialized studies.
In this book, Alexander Nagel provides the first truly synthetic study of the controversies over religious images that pervaded Italian life both before and parallel to the Reformation north of the Alps. Tracing the intertwined relationship of artistic innovation and archaism, as well as the new pressures placed on the artistic media in the midst of key developments in religious iconography, The Controversy of Renaissance Art offers an important and original history of humanist thought and artistic experimentation from one of our most acclaimed historians of art.
The cross stirs intense feelings among Christians as well as non-Christians. Robin Jensen takes readers on an intellectual and spiritual journey through the two-thousand-year evolution of the cross as an idea and an artifact, illuminating the controversies—along with the forms of devotion—this central symbol of Christianity inspires.
Jesus’s death on the cross posed a dilemma for Saint Paul and the early Church fathers. Crucifixion was a humiliating form of execution reserved for slaves and criminals. How could their messiah and savior have been subjected to such an ignominious death? Wrestling with this paradox, they reimagined the cross as a triumphant expression of Christ’s sacrificial love and miraculous resurrection. Over time, the symbol’s transformation raised myriad doctrinal questions, particularly about the crucifix—the cross with the figure of Christ—and whether it should emphasize Jesus’s suffering or his glorification. How should Jesus’s body be depicted: alive or dead, naked or dressed? Should it be shown at all?
Jensen’s wide-ranging study focuses on the cross in painting and literature, the quest for the “true cross” in Jerusalem, and the symbol’s role in conflicts from the Crusades to wars of colonial conquest. The Cross also reveals how Jews and Muslims viewed the most sacred of all Christian emblems and explains its role in public life in the West today.
Months before Alma López's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition.
Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America).
Accompanied by a bonus DVD of Alma López's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.
—Char Miller, from the introduction
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