Universal – International – Global
Art Historiographies of Socialist Eastern Europe
Contributions by Michael Feist Contributions by Éva Forgács Contributions by Maja and Reuben Fowkes Contributions by Maja Fowkes Contributions by Corinne Geering Contributions by Piotr Juszkiewicz Contributions by Adri Kácsor Contributions by Krista Kodres Contributions by Mária Orišková Contributions by Elena Sharnova Contributions by Robert Born Contributions by Antje Kempe Contributions by Marina Dmitrieva Contributions by Reuben Fowkes Contributions by Douglas Gabriel Contributions by Ivan Gerat Edited by Antje Kempe Edited by Beata Hock Edited by Marina Dmitrieva Series edited by Robert Born Series edited by Ada Raev
Hardback (Published)
(January 2023)
ISBN: 9783412520816
6.34 x 9.25 inches
Price: $74.00
On back order
Teaching back to earlier efforts to conceive of the international community in a less Eurocentric way, the volume proposes a tentative link between socialist internationalism as a political and cultural diplomatic principle in the Soviet Block and some new approaches to art and cultural historiography introduced there. In the “Second World”, universal art history or Weltkunstgeschichte were endorsed as frameworks for the teaching and writing of art history. Authors in this book interrogate whether “world art history” as practiced by socialist scholars had aspirations and achievements comparable to today’s Global Art History and World Art Studies. Or was this knowledge production in an internationalist paradigm a mere foil for communist rhetoric, behind which severed cultural relations to the Western world could also be recommenced?
This collection of articles explores a possible alternative beginning of Global Art History and World Art Studies, two methodologies that set a worldwide focus in the study of art around the 2000s. Reaching back to earlier efforts to conceive of the international community in a less Eurocentric way, the volume proposes a tentative link between socialist internationalism as a political and cultural diplomatic principle in the Soviet Block and some new approaches to art and cultural historiography introduced there. In the “Second World”, universal art history or Weltkunstgeschichte were endorsed as frameworks for the teaching and writing of art history. Authors in this book interrogate whether “world art history” as practiced by socialist scholars had aspirations and achievements comparable to today’s Global Art History and World Art Studies. Or was this knowledge production in an internationalist paradigm a mere foil for communist rhetoric, behind which severed cultural relations to the Western world could also be recommenced?
- Contributions by Michael Feist
- Contributions by Éva Forgács
- Contributions by Maja and Reuben Fowkes
- Contributions by Maja Fowkes
- Contributions by Corinne Geering
- Contributions by Piotr Juszkiewicz
- Contributions by Adri Kácsor
- Contributions by Krista Kodres
- Contributions by Mária Orišková
- Contributions by Elena Sharnova
- Contributions by Robert Born
- Contributions by Antje Kempe
- Contributions by Marina Dmitrieva
- Contributions by Reuben Fowkes
- Contributions by Douglas Gabriel
- Contributions by Ivan Gerat
- Edited by Antje Kempe
- Edited by Beata Hock
- Edited by Marina Dmitrieva
- Series edited by Robert Born
- Series edited by Ada Raev
Other Titles in this Series
Künstlerinnen und Migration
Olga von Boznańska und Otolia Gräfin Kraszewska im München des Fin de Siècle
Harte Währung Beton
Eine Kulturgeschichte des Massenwohnungsbaus im sozialistischen Jugoslawien und seinen Nachfolgestaaten
Medialisierte Körper
Performances und Aktionen der Neoavantgarden Ostmitteleuropas in den 1970er Jahren
“Der Russe Kandinsky”
Zur Bedeutung der russischen Herkunft Vasilij Kandinskijs für seine Rezeption in Deutschland, 1912-1945
Visual Memory and Oblivion
Monuments and Conflicts in Urban Spaces in Central and Eastern Europe from the Nineteenth Century to the Present Day
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