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the Economies of Art

2009-2010

  • # 13-3 | Primitivisms | Nélia Dias

    the Economies of Art Africa, Surrealism 3

    The Surrealists reinvented the idol of origins. They dreamed of their Primitive as someone standing apart from science and reality by curiously rediscovering the paths of history. As early as the 1920s, they were among the first to revolt against the serfage of non-Western peoples, and they did so not by calling, in the ...

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  • # 17-2 | Appropriations | Rémi Labrusse

    the Economies of Art, Wars and Peace Appropriations, Art 3

    “Race wars are perhaps going to start up again. Within a century, we shall see several million men kill one another other in one fell swoop. The entire East against the entirety of Europe, the Old World against the New! Why not? In another form, great collective projects like the Isthmus of Suez are ...

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  • # 17-1 | Appropriations | Benoît de L’Estoile

    the Economies of Art, Wars and Peace Appropriations, Art 3

    “Race wars are perhaps going to start up again. Within a century, we shall see several million men kill one another other in one fell swoop. The entire East against the entirety of Europe, the Old World against the New! Why not? In another form, great collective projects like the Isthmus of Suez are ...

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  • # 16 | The Artist and the Philosopher | Sophie Delpeux and Gilles Tiberghien

    Passion for Equality, the Economies of Art Artists, Philosophy 4

    A look at the major figure of Allan Kaprow takes us back to that moment during the 1950s and 1960s when the discourse of modern formalism began to break up and to leave some room for less established positions. With an ever increasing chance of being understood, the time had finally come to lay ...

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  • # 14-1 | Realisms | François Legrand

    Passion for Equality, the Economies of Art United States 3

    In 1980, the title of a key exhibition held at the French National Museum of Modern Art--Realisms: Between Revolution and Reaction, 1919-1930--announced a program. The project manager for this show, Gérard Régnier (Jean Clair), recalled our common-sense understanding of the term Realism: “the artist’s scrupulous observation of the model being represented, whether it be ...

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  • # 13-2 | Primitivisms | Maureen Murphy

    Passion for Equality, the Economies of Art Africa, Man Ray, New York, Paris, Walker Evans 4

    The Surrealists reinvented the idol of origins. They dreamed of their Primitive as someone standing apart from science and reality by curiously rediscovering the paths of history. As early as the 1920s, they were among the first to revolt against the serfage of non-Western peoples, and they did so not by calling, in the ...

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  • # 12-2 | What is Social Art? | Christophe Prochasson

    Passion for Equality, the Economies of Art Social Art 2

    In the middle of the nineteenth century, the reaction against spiritualism was a prelude to the struggle that would start up against art for art’s sake--against art seen as autonomous and rid of all social responsibility. A certain number of thinkers paved the way at the time by attacking this vision of an ethereal, ...

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  • # 12-1 | What is Social Art? | Catherine Méneux

    Passion for Equality, the Economies of Art Social Art 4

    In the middle of the nineteenth century, the reaction against spiritualism was a prelude to the struggle that would start up against art for art’s sake--against art seen as autonomous and rid of all social responsibility. A certain number of thinkers paved the way at the time by attacking this vision of an ethereal, ...

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  • # 9-2 | Art in the Republic | Rodolphe Rapetti

    Passion for Equality, the Economies of Art XIXth Century 2

    Society is not immune to what Richard Thomson calls a visual culture that in turn plays upon people’s mentalities. In the case of the French Republic between 1889 and 1900, he sees an opportunity to depart from the established categories of art history, which often limits itself to studying avant-gardes while downplaying the notion ...

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  • # 9-1 | Art in the Republic | Richard Thomson

    Passion for Equality, the Economies of Art XIXth Century 2

    Society is not immune to what Richard Thomson calls a visual culture that in turn plays upon people’s mentalities. In the case of the French Republic between 1889 and 1900, he sees an opportunity to depart from the established categories of art history, which often limits itself to studying avant-gardes while downplaying the notion ...

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ISSN 2268-3119