Anarchy and Art: From the Paris Commune to the Fall of the Berlin Wall
One of the powers of art is its ability to convey the human aspects of political events. In this fascinating survey on art, artists, and anarchism, Allan Antliff interrogates critical moments when anarchist artists have confronted pivotal events over the past 140 years. The survey begins with Gustave Courbet’s activism during the 1871 Paris Commune (which established the French republic) and ends with anarchist art during the fall of the Soviet empire. Other subjects include the French neoimpressionists, the Dada movement in New York, anarchist art during the Russian Revolution, political art of the 1960s, and gay art and politics post-World War II. Throughout, Antliff vividly explores art’s potential as a vehicle for social change and how it can also shape the course of political events, both historic and present-day; it is a book for the politically engaged and art aficionados alike.
Allan Antliff is the author of Anarchist Modernism.
Boy walk away from the entrapment of this inferno. Their destination is unnamed; their purpose, undetermined. They might be setting out on a journey, or perhaps they seek momentary respite from the grey, polluted environment they leave behind. In any event, they are passing from one Peter Kropokin, 1899. Photograph. world to another—the rhythm of capital gives way to the rhythm of nature. Luce and the neo-impressionists were fully aware of the violence that emergent capitalism did to nature’s.
In Moscow, there were at least twenty-ﬁve anarchist clubs where the detachments gathered. These clubs were more than meeting places; they were radical cultural institutions. For example, the “Dom’ Anarkhiia” (House of Anarchy), where the federation’s ofﬁcial paper Anarkhiia was published, also featured a library and reading room, “proletarian art printing” facilities, a poetry circle, and a large theater hall in which plays were performed and lectures held.8 Many of the structures occupied by the.
Varying shades of Democratic, Liberal, Conservative, Technocratic, etc.), Marxian Communist, Fascist or Nazi variety [and] the unswerving determination to serve under none of these degrading, deathly states, but to break away in small communities, in small precursors of a resurrection and renascence of mankind through a return to the dignity and purity and religiousness of a mode of life rooted in agriculture and the handicrafts.22 The Cooneys likened these communities of refuge to “Arks,” and.
Conversations. The group encouraged me to be a traveling companion with Adinka, the art student l ﬁrst met hawking Die Witte Krant. There is a photo of her from that period where she is kneeling on the ground and drawing in chalk. Adinka was going on a trip to visit the family of her brother’s ﬁancé Breakout from the Prison House of Modernism 153 in Barcelona, Spain, then still a fascist dictatorship ruled by Franco. From there it was off to the island of Ibiza to rendezvous with more of the.
On the experts to develop and run them…. Industrial technologies are inherently damaging to the environment: outcomes are not foreseeable; there are not solutions to all problems; mistakes are inevitable; contamination is an inevitable part of the industrial system…. The ways in which humans view the world, their imaginations and perceptions, become adapted to the technological world. Humans begin to think and act in terms of the machine.25 By way of countering this state of affairs, Watson and.