Beyond Tolerance: Searching for Interfaith Understanding in America (The Documents of 20th-century art)
by Gustav Niebuhr
from Viking Adult
A bracing rejoinder both to religious fanaticism and to recent books decrying religion
The United States is the most religiously diverse nation in the world and the most religiously diverse collection of people in history. And even in this age of increasing religious violence, there is a growing movement of cooperation: thousands of devout worshippers who are willing to take a gamble on people of radically different faiths.
In this insightful, deeply felt examination of the nature of community and religion, former New York Times religion reporter Gustav Niebuhr traces the roots of religious freedom in America and the setbacks and triumphs it has encountered along the way. From Hindus and Quakers in Queens to Catholics and Jews in Baltimore, to black Baptists and Catholics in Louisville, to Catholics and Buddhists in Los Angeles, Niebuhr focuses on the ways people build ties between groups. He looks at why this movement is a particularly American endeavor and how it can save us all. Beyond Tolerance is a handbook for religious cooperation in our fractured times.
Realism, Rationalism, Surrealism: Art Between the Wars (Modern Art Practices and Debates)
by David Batchelor
from Yale University Press
Vitebsk: The Life of Art
by Aleksandra Shatskikh
from Yale University Press
Theatre in Revolution: Russian Avant-Garde Stage Design, 1913-1935
Russian Constructivism
by Christina Lodder
from Yale University Press
This book provides the first detailed account of one of the most exciting movements in twentieth-century art.
Stories for Little Comrades: Revolutionary Artists and the Making of Early Soviet Children's Books
by Evgeny Steiner
from University of Washington Press
The Artist as Producer: Russian Constructivism in Revolution
by Maria Gough
from University of California Press
The Artist as Producer reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s--the Institute of Artistic Culture (INKhUK) in Moscow--Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object.
Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form--the spatial construction--and of their subsequent shift to industrial production. The Artist as Producer upends the standard view that the Moscow group's formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state. It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. The Artist as Producer offers provocative new perspectives on three critical issues--formalism, functionalism, and failure--that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.
Constructing Reality: Constructivism and Narration in John Fowles's 'The Magus'
Is Lily-Julie just a projection of Nicholas's own desires? Is reality just a projection of our own ideas? The former is one of the central questions in John Fowles's novel 'The Magus'; the latter is the nucleus of constructivism.
This study traces constructivist ideas and their transformation into narrative in 'The Magus'. For long before constructivist theories were put forth, John Fowles confronts both the protagonist of his novel and the reader with the central constructivist theme: the construction of reality.
Konstruktive Konzepte: Eine Geschichte der konstruktiven Kunst vom Kubismus bis heute
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