Schwartz Frederic J (59 results)

hardcover. Condition: New.

Hardcover. Condition: Fine. 432 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Published without dust jacket. No remainder mark. Book is still in the original publisher shrink wrap.

Paperback. Condition: Fine. 1st. 520 pages, illustrations; 25 cm. Published in association with the Department of History of Art, University College London. Tight, clean copy. First paperback edition. *** "From the early decades of the 20th century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. This collection of essays a festschrift in honour of leading Marxist art historian Andrew Hemingway brings together thirty academics who are reshaping art history along Marxist lines." - Publisher. *** CONTENTS: Introduction. Towards a history of the Marxist history of art, by Warren Carter; MARXIST THEORY IN PRACTICE. Art history's furies, by John Roberts; The political logic of radical art history in California 1974-85: a memoir, by Stephen F. Eisenman; The dialectical legacies of radical art history: Meyer Shapiro and German aesthetic debates in the 1930s and 1940s, by Warren Carter; Approaching Marx's aesthetic: Or, what is sensuous practice?, by Stewart Martin; A communion of just men made perfect: Walter Pater, romantic anti-capitalism and the Paris Commune, by Matthew Beaumont; What remains of Adorno's critique of culture?, by Norbert Schneider; Aby Warburg and the spirit of capitalism, by Frederic J. Schwartz; LANDSCAPE, CLASS AND IDEOLOGY. A note on aestheticizing tendencies in American landscape painting 1840-80, by Alan Wallach; Meaning, change and ambiguity in Canadian landscape imagery: Homer Watson and The Pioneer mill, by Brian Foss; One spectator is a better witness than ten listeners: Roger North, making the past public, by Charles Ford; An ever-recurring controversy: John Thompson, William James Stillman and the Bootblacks, by Steve Edwards; Calaveras and commodity fetishism: the unhallowed supernatural in the work of Jose Guadalupe Posada, by Tom Gretton; Reading Ahab: Rockwell Kent, Herman Melville and C.L.R. James, by Angela Miller; William Morris, ornament and the coordinates of the body, by Caroline Arscott; MARXISM AND THE SHAPING OF MODERNISM. Red Hashar: Louis Lozowick's lithographs of Soviet Tajikstan, by Barnaby Haran; Lu Marten and the question of Marxist aesthetic in 1920s German, by Martin I. Gaughan; Experiment and propaganda: art in the monthly New masses, by Rachel Sanders; Stuart Davis and Left modernism on the New York waterfront in the 1920s, by Jody Patterson; Action, revolution and painting: resumed, by Fred Orton; Erasure and Jewishness in Otto Dix's Portraint of the lawyer Hugo Simons, by James A. van Dyke; The Nazi Party's strategic use of the Bauhaus: Marxist art history and the political conditions of artistic production, by Paul B. Jaskot; MARXISM IN A NEW WORLD ORDER. Realism and materialism in postwar European art, by Alex Potts; The situation of women, by Frances Tracey; Scars on the landscape: Doris Salcedo between two worlds, by Chin-tao Wu; Realism, totality and the militant Citoyen: or, What does Lukacs have to do with contemporary art?, by Gail Day; Deartification this side of art: ideology critique, autonomy and reproduction, by Kerstin Stakemeier. Size: 8vo. Collectible.

Soft cover. Condition: Fine. 1st Edition. Almost as new.

Hardcover. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 300pp. Red cloth-covered boards in dust-jacket. B&W illustrations throughout. Jacket is lightly rubbed, now in a protective sleeve.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st. Cloth, xiii, 300 pages, illustrations; 25 cm. Tight, clean copy. Dust jacket protected in a mylar cover. A fine copy of the first printing. *** "This book is the first to focus on the extraordinary symbiosis between Critical Theory and other discourses of the visual in the first half of the twentieth century. In four extended case studies, Frederic J. Schwartz traces the way central concepts of the aesthetics later termed 'Frankfurt School' were deeply rooted in contemporary developments in painting, photography, architecture, and film, as well as psychology, advertising, and the discipline of art history as it was practiced by figures such as Heinrich W lfflin, Erwin Panofsky, Wilhelm Pinder, and Hans Sedlmayr. Schwartz explores the shifting intersection between the history of art and the Frankfurt School and seeks to uncover its specific logic. He argues that artists, art historians, and Critical Theorists were united by a common project: that of exploring those aspects of modernity that could only be revealed by its visual products, of knowing the modern visually. / FREDERIC J. SCHWARTZ is reader in history of art, University College London, and author of The Werkbund: Design Theory and Mass Culture Before the First World War, published by Yale University Press." - Publisher. *** CONTENTS: Fashion: Concepts of style in Wolfflin and Adorno. Cathedrals and shoes. Novelty. The new Distraction: Walter Benjamin and the avant-garde. The blur at the centre. Book-space. Excursus I: architecture, photography and the avant-garde. Excursus II: architecture, photography and the baroque. Sight for sore eyes. Distraction. The eye of the expert. Dangerous games; Nonsimultaneity: Ernst Bloch and Wilhelm Pinder. Enigmas of arrival. History of nonsimultaneity. Philosophy of nonsimultaneity. Styles of nonsimultaneity. Politics of nonsimultaneity; Mimesis: Physiognomies of art in Kracauer, Sedlmayr, Benjamin and Adorno. Kracauer and Riegl: the problem. Panofsky and Sedlmayr: the options. For Sedlmayr I: his critique. Against Sedlmayr I: bad science. Excursus: Benjamin meets Sedlmayr halfway (but they do not meet). For Sedlmayr II: art historiography as modernism. Against Sedlmayr II: bad poetry, bad philosophy. The visible man. The invisible years. Physiognomies of art and language. Mimic behaviour. The psychophysical problem. Politics as Verhalten: revisiting the expert. Art as Verhaltensweise; Afterword: Seeing and time/Seeing in time. Size: 8vo. Collectible.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread copy in mint condition.

Condition: New.

Condition: New. Brand New.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. hardcover in dust jacket; no flaws, clean, no writing or markings, tightly bound,; ; english text. 262pp.; 100 illustrations. the most recent of the small number of titles in english which examine the important german werkbund. Size: 4to - over 9¾" - 12" tall.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Good. 1st Edition. Yale University Press: 2005. Octavo. Hardcover with a dust jacket. First edition. Unclipped jacket has a bit of rubbing and a couple of closed tears. Book is near fine, jacket is on the upper end of good.

Hardcover. Condition: new. Hardcover. How artists in twentieth-century Germany adapted the idea of the medical or legal case as an artistic strategy to push to the fore sexualities, scandals, and crimes that were otherwise concealed.How artists in twentieth-century Germany adapted the idea of the medical or legal case as an artistic strategy to push to the fore sexualities, scandals, and crimes that were otherwise concealed.In early twentieth-century Germany, the artistic avant-garde borrowed procedures from the medical and juridical realms to expose and debate matters that society preferred remain hidden and unspoken. Frederic J. Schwartz explores how the evocation or creation of a "case" provided artists with a means to engage themes that ranged from blasphemy to Lustmord, or sexual murder. Shedding light on the case as a cultural form, Schwartz shows its profound effect on artists and the ways it dovetailed with methods used by these figures to exploit fundamental changes taking place across the mass media of their time.As Schwartz shows, the case was a common denominator that connected seemingly disparate works. George Grosz and Rudolf Schlichter drew on it for their violent visual art, as did architect Adolf Loos when he equated ornament with crime. Expressionists, meanwhile, approached the question of whether the so-called "mad" shared a right of public expression with those deemed sane, and examined medical and legal approaches to what society labeled as insanity. The case also took on a personal dimension when artists found themselves confronted with, or chose to engage with, the legal system. German courts prosecuted John Heartfield and others for their provocative works, while Bertolt Brecht created publicity for himself by suing the firm to whom he sold the film rights to The Threepenny Opera. Provocative and insightful, The Culture of the Case offers a privileged view of the spaces of representation in which images-in some instances, as cases-functioned at a key moment of modernity. "An exploration and analysis of the disturbing Lustmord images - graphic representations of sexual murder - by artists such as George Grosz, Otto Dix, Rudolph Schindler, and more generally of the interelationship between art and criminality in early 20th-century Germany and Austria"-- Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condition: fine. Dust Jacket Condition: fine. octavo. 24 cm x 16 cm. 300pp. A fine copy in dust jacket.

Hardcover. 26.5 x 20 cm. Royal octavo. 262pp. Some scratching to bottom of boards, toning to very bottom of cloth spine. Light scratching to jacket. Very Good in Very Good dust jacket.

Hard Cover. Condition: Good. No Jacket. First Edition. From an academic library with the usual stamps etc. This item is heavy and will attract postal surcharges.

Hardback. Condition: New.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condition: New.

Hardback. Condition: New.

Condition: New.

367 S. mit zahlr. Abb.; 24 cm. Orig.-Kart. (gut erhalten).

Hardcover. Condition: new. Hardcover. From the early decades of the twentieth century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. Some of the most influential names in the field were active proponents of Marxist thought: Frederick Antal, Max Raphael, Arnold Hauser, Meyer Schapiro, T. J. Clark, to name just a few. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics, which began to dominate the subject. This came at a time when Marxism in general was itself increasingly perceived as outdated after the collapse of communism. But in the wake of the recent global crisis there has been a resurgence in interest in Marx, especially among younger generations. Similarly, many progressive art historians are once again recognizing the relevance of his ideas to their own practice. This collection of essays is a festschrift in honour of a leading Marxist art historian Andrew Hemingway that brings together thirty academics who are reshaping art history along Marxist lines. Coming from the United States, Britain, Europe and Asia, they apply Marx's theories to a wide range of art-historical subjects. American art of the mid-nineteenth century; the rise of modernism in Weimar Germany; Mexican muralism; Situationism in 1960s Paris; and photography and contemporary art these are just some of the areas considered through the lens of Marxism as it is understood today. And in the spirit of Marxism's long tradition of self-critique, the contributors also examine the shifting agendas and limitations of Marxist art history itself, acutely aware of the specific historical and political circumstances in which it is produced. As such, this book not only provides the very latest in Marxist art-historical writing, it also acts an essential introduction to one of the most vibrant and relevant forms of art history today one that looks to the past but is also marked by an urgent sense of the present. From the early decades of the twentieth century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. This collection of essays is a festschrift in honour of a leading Marxist art historian Andrew Hemingway that brings together thirty academics who are reshaping art history along Marxist lines. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New. In.

Hardcover. Condition: New.

Condition: New. 2023. Hardcover. . . . . .

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. New copy - Usually dispatched within 3 working days.