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Arts and Politics :: Arts Politics Essays
The real crisis of civilization is above all the crisis of revolutionary leadership. Stalinism is the greatest element of reaction in this crisis. Without a new flag and a new program it is impossible to create a revolutionary mass base; consequently it is impossible to rescue society from its dilemma. But a truly revolutionary party is neither able nor willing to take upon itself the task of “leading” and even less of commanding art, either before or after the conquest of power. Such a pretension could only enter the head of a bureaucracy – ignorant and impudent, intoxicated with its totalitarian power – which has become the antithesis of the proletarian revolution. Art, like science, not only does not seek orders, but by its very essence, cannot tolerate them,. Artistic creation has its laws – even when it consciously serves a social movement. Truly intellectual creation is incompatible with lies, hypocrisy and the spirit of conformity. Art can become a strong ally of revolution only in so far as it remains faithful to itself. Poets, painters, sculptors and musicians will themselves find their own approach and methods, if the struggle for freedom of oppressed classes and peoples scatters the clouds of skepticism and of pessimism which cover the horizon of mankind. The first condition of this regeneration is the overthrow of the domination of the Kremlin bureaucracy.
Andrea Giunta is Professor of Latin American Art at the University of Texas where she is also director of the Center for Latin American Visual Studies. Prior to her arrival at UT in 2008, she taught at the Universidad de Buenos Aires. Her work as a curator includes exhibitions such as the retrospective of Leon Ferrari at the Centro Cultural Recoleta, Buenos Aires. She is author and/or editor of several books, such as Avant Garde, Internationalism and Politics. Argentinean Art in the Sixties (Duke University Press, 2007) and Poscrisis. Arte argentino después del 2001 (Siglo XXI, 2009).
Politics Essays | Free Essays on Politics
The migration of images from public space (the street, protests or newspapers) to art spaces has been a recurring phenomenon in Latin American post-dictatorship art. This essay reflects on that process of migration in a series of contemporary art projects, analyzing how new and latent meanings of such images are re-activated and re-circulated through their translation to the register of art. When politically iconic images associated with political repression—such as identification photos of the disappeared used by human rights organizations as proof of the lives they reclaim and commemorate—are translated into the art field, they are connected to the power of the incomplete and undetermined that art makes possible. This in turn may grant stagnant historical documents another political and aesthetic life.
To find a solution to this impasse through art itself is impossible. It is a crisis which concerns all culture, beginning at its economic base and ending in the highest spheres of ideology. Art can neither escape the crisis nor partition itself off. Art cannot save itself. It will rot away inevitably – as Grecian art rotted beneath the ruins of a culture founded on slavery – unless present-day society is able to rebuild itself. This task is essentially revolutionary in character. For these reasons the function of art in our epoch is determined by its relation to the revolution.
e7.2 Essay - Politics of Representation. Art & Human Rights
You have been kind enough to invite me to express my views on the state of present-day arts and letters. I do this not without some hesitation. Since my book Literature and Revolution (1923), I have not once returned to the problem of artistic creation and only occasionally have I been able to follow the latest developments in this sphere. I am far from pretending to offer an exhaustive reply. The task of this letter is to correctly pose the question.
The decline of bourgeois society means an intolerable exacerbation of social contradictions, which are transformed inevitably into personal contradictions, calling forth an ever more burning need for a liberating art. Furthermore, a declining capitalism already finds itself completely incapable of offering the minimum conditions for the development of tendencies in art which correspond, however little, to our epoch. It fears superstitiously every new word, for it is no longer a matter of corrections and reforms for capitalism but of life and death. The oppressed masses live their own life. Bohemianism offers too limited a social base. Hence new tendencies take on a more and more violent character, alternating between hope and despair. The artistic schools of the last few decades – cubism, futurism, dadaism, surrealism – follow each other without reaching a complete development. Art, which is the most complex part of culture, the most sensitive and at the same time the least protected, suffers most from the decline and decay of bourgeois society.
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Politics and art essay introduction | The Fit Union
I wanted to hope that this was but a temporary condition and that the publishers of Partisan Review would cease to be afraid of themselves. I must say, however, that the Symposium outlined by you is not at all capable of strengthening these hopes. You phrase the question about Marxism as if you were beginning history from a clean page. The very Symposium title itself sounds extremely pretentious and at the same time confused. The majority of the writers whom you have invited have shown by their whole past – alas! – a complete incapacity for theoretical thinking. Some of them are political corpses. How can a corpse be entrusted with deciding whether Marxism is a living force? No, I categorically refuse to participate in that kind of endeavor.
Censorship and the Politics of Art in Hong Kong | …
It is my general impression that the editors of Partisan Review are capable, educated and intelligent people but they have nothing to say. They seek themes which are incapable of hurting anyone but which likewise are incapable of giving anybody a thing. I have never seen or heard of a group with such a mood gaining success, i.e., winning influence and leaving some sort of trace in the history of thought.
Politics and art essay - BNA Bricklayers Perth
The migration of images from public space (the street, protests or newspapers) to art spaces has been a recurring phenomenon in Latin American post-dictatorship art. The inclusion and simultaneous de-contextualization that Chilean artist Carlos Altamirano achieves in his Retratos (Portraits) series are direct and powerful. It consists of a concert of declassified images from original records that he reorganizes on a single plane, as if it might be possible from that moment on to produce some kind of internal order, as if it were a Neo Dada assemblage by Rauschenberg but one in which all contrast and juxtaposition is avoided in order to pass on to an absolute flatness. Processed in a computer, the images' traditions are smoothed away and they are compacted into reproduction's continuum. The repertoire refers to popular culture in Chile from the nineties. Portraits of the disappeared under the heading of the repeated question, always the same—"where are they?"—stand out against the printed pattern. In spite of the flattening effect of the medium, these portraits stand out due to their black and white format and because they are not subjected to cropping, superimpositions, and manipulations that might affect their legibility as is the case with other images. Like a sustained interrogation, they are repeated throughout the length and breadth of the printed installation. It is precisely the banal repertoire against which they are displayed that reconfigures these portraits' power to become present once again in an unexpected or unforeseen environment such as the art world. The faces of the disappeared function as if they were an invasion, as if they had appeared there unexpectedly, as if someone had stuck them there. They capture the sensation of an urgent action. The chromatic leap and the contrast of being records set them apart and reactivate these faces, operating in such a way that the repetition does not wear out the demand. Yes, they do repeat, but in a different way. An entire group of images linked to the politics of the administration of life that at the same time contributes to the reactivation of the repertoire of images, gives visual form to the demand "that they appear, alive." The photographs represent the ghostly bodies of that suspended death and the suspense that is disappearance.
Australian Politics Art Essay Undergraduate level ..
It would be a different matter if your correspondent simply said: in the sphere of literature and art we wish no supervision on the part of “Trotskyists” any more than from the Stalinists. This protest would be, in essence, absolutely just. One can only retort that to aim it at those who are termed “Trotskyists” would be to batter in an open door. The ideological base of the conflict between the Fourth and Third Internationals is the profound disagreement not only on the tasks of the party but in general on the entire material and spiritual life of mankind.
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