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Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners in progress, studio of Nancy Spero, 2007. Photograph by Deborah Frizzell.
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Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners in progress, studio of Nancy Spero, 2007. Photograph by Deborah Frizzell.
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Journal Article
Cultural Politics (2020) 16 (1): 111–122.
Published: 01 March 2020
...Deborah Frizzell This article is an analysis of artist-activist Nancy Spero’s War Series paintings, 1966–70. The author analyzes her paintings from this crucial time period within the context of significant historical events that impacted her artistic development of themes, formal devices...
Journal Article
Cultural Politics (2022) 18 (3): 351–366.
Published: 01 November 2022
...Cory Stockwell Abstract This article examines several recent theorizations of the concept “world” from within or in proximity to the field of world literature, and argues that these theorizations all suffer from a missed engagement with the work of Jean-Luc Nancy, the most important contemporary...
Journal Article
Cultural Politics (2009) 5 (1): 118–132.
Published: 01 March 2009
...Nancy Spero, Maypole/Take No Prisoners in progress, studio of Nancy Spero, 2007. Photograph by Deborah Frizzell. ...
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Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners (detail) in situ , 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York.
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Image
Published: 01 March 2009
Studio of Nancy Spero and Leon Golub, Greenwich Village, New York, 2007, with mock-up for Spero’s Maypole/Take No Prisoners , courtesy of Galerie Lelong, New York, and Golub’s Gigantomachy II (1965), courtesy of Ronald Feldman Fine Arts. Photograph by Samm Kunce.
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Image
Published: 01 March 2009
Nancy Spero, Nightmare Figures II (1961). Oil on canvas. 51 × 63 in. Courtesy of Galerie Lelong, New York. Photograph by David Reynolds.
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Image
Published: 01 March 2009
Nancy Spero, Female Bomb (1966). From War Series . Gouache on paper. 34 × 27 in. University Art Collection, New School University, New York. Photograph by David Reynolds.
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Image
Published: 01 March 2009
Nancy Spero, Male Bomb (1966). From War Series . Gouache and ink on paper. 36 × 24 in. Courtesy of Galerie Lelong, New York. Photograph by David Reynolds.
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Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners (detail), Italian Pavilion, 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York.
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Journal Article
Cultural Politics (2021) 17 (3): 314–332.
Published: 01 November 2021
... Nancy's work on sense , an ontological concept that evidences the political potentials (or potential politics) of Bazin's predilection for images, which are said to ameliorate our love for reality by transmitting the excessive sense of the world in its ambiguity, creativity, and unpredictability...
Journal Article
Cultural Politics (2016) 12 (2): 253–258.
Published: 01 July 2016
...Irving Goh One can, in fact, learn that esteem from the very place where we are discouraged from thinking the present. In the case of After Fukushima , that would be Japan. For Nancy, it can be learned from the Japanese practice of hanami , by which one takes time out of one’s regular schedule...
Journal Article
Cultural Politics (2015) 11 (3): 421–425.
Published: 01 November 2015
... in 1979, Jean-Luc Nancy lamented what he saw as a return of the subject within contemporary philosophical and theoretical discourse. This return of the subject could be discerned most clearly in Lacanian psychoanalysis but also more generally in the way philosophy was borrowing from nonphilosophical...
Journal Article
Cultural Politics (2020) 16 (1): 138–140.
Published: 01 March 2020
..., Jacques Rancière, Joseph Vogl, Wendy Brown, Antonio Negri, Tariq Ali, Saskia Sassen, Maurizio Lazzarato, Angela McRobbie, and Jean-Luc Nancy. The book concludes with a letter exchange between Zygmunt Bauman and Roberto Esposito on the latter’s theorem of immunity. In a thought-provoking and engaging...
Journal Article
Cultural Politics (2021) 17 (1): 124–134.
Published: 01 March 2021
... not; for I am not yet ascended to my Father; but go to my brethren, and say to them, I ascend to my Father and your Father, and to my God and your God” (John 20:17). Supporting Žižek's reading of the parable in his essay “Noli Me Tangere: On the Raising of the Body” (2008), Jean-Luc Nancy explains...
Journal Article
Cultural Politics (2010) 6 (3): 303–318.
Published: 01 November 2010
... M. 1969 . The Gift . London : Cohen and West . McHugh P. 1992 . “ A Resignation ” Dianoia 2 (2) : 106 – 11 . Miller D. 1995 . Acknowledging Consumption. London : Routledge . Nancy J.L. 1991 . The Inoperative Community. Minneapolis : University...
Journal Article
Cultural Politics (2015) 11 (3): 426–429.
Published: 01 November 2015
... that in Beau Travail , as the French legionnaires dance with African females, the “uniform(ed) queer body of the Legion is shown to be dispersed by the racial and sexual difference of the Djiboutian women” in an exhibition of Jean-Luc Nancy’s concept of “ being-with —that is, a mode of commonality without...
Journal Article
Cultural Politics (2006) 2 (1): 97–114.
Published: 01 March 2006
.... Perhaps one may think Nancy's passerby, which is not foreign to the French sense of pas – “step” (a forwarding presence or mark of presence) and “not” (negation) at the same time: “A passerby, each time, and each time anyone whatsoever – not that the passerby is anonymous, but his or her vestige does...
Journal Article
Cultural Politics (2013) 9 (2): 203–211.
Published: 01 July 2013
... objections ( Lyotard 1986 : 11) to Jean-Luc Nancy and Philippe Lacoue-Labarthe's appeal to the concept of “mother” in their introduction to the Rejouer le politique ( Replaying the Political ) volume ( Lacoue-Labarthe and Nancy 1981 : 26). 5. Lyotard uses the word freely and regularly in both...
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