The convergence of the commodification of art and the discursive authority of the art museum seem to have left little space for politically motivated practices in both art and criticism. This review essay considers two books that offer potential alternatives. One proposes a theoretical framework for the analysis of historical situations in which art and revolution overlapped one another; the other brings together texts by practicing artists, critics, and art historians to explore the space between art-making and art-writing.
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Book Review| January 01 2010
Jonathan Harris, ed., Dead History, Live Art? Spectacle, Subjectivity, and Subversion in Visual Culture since the 1960s. Liverpool: Liverpool University Press and Tate Liverpool, 2007.
Gerald Raunig, Art and Revolution: Transversal Activism in the Long Twentieth Century, trans. Aileen Derieg. Los Angeles: Semiotext(e), 2007. Originally published as Kunst und Revolution: Künstlerischer Aktivismus im langen 20. Jahrhundert. Vienna: Turia+Kant, 2005.
Radical History Review (2010) 2010 (106): 193–197.
David Ogawa; Unexpected Concatenations. Radical History Review 1 January 2010; 2010 (106): 193–197. doi: https://doi.org/10.1215/01636545-2009-028
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