"Photo Revolution: Andy Warhol to Cindy Sherman will investigate how and why the 1960s and '70s became a vital era for the ascension of photography to the status of fine art, arguing that critical to the acceptance of both Pop Art and fine photography was a newfound acceptance of multiples. Prior to Pop Art, art media that produced "copies," like in prints and photographs, were perpetually undervalued compared to "original" objects like paintings. However, with the appropriation of photo-based imagery by artists like Andy Warhol and Tom Wesselmann, Pop Art and photography developed a symbiotic relationship as Pop Art certified the aesthetic importance of photography through its appropriation. Using a variety of media derived mostly from the Worcester Art Museum's permanent collection, Photo Revolution: Andy Warhol to Cindy Sherman investigates Pop Art, Conceptual Art, and emerging photo-based art forms, primarily through the lens of photography. It seeks to illustrate how photographs leap from second-tier status to the driving force behind contemporary art production with the emergence of artists like Cindy Sherman, Nan Goldin, and Martha Rosler. The book will also illustrate how photography became entrenched in art production globally, as seen in the photomontages of British conceptual artist John Stezaker, conceptual work by Polish video artist and photographer Andrej Paruzel, and in the work of Japanese documentary photographer Hiromi Tuschida"--

Place of publication transcribed from publisher's website.

The connoisseur's guide to the typewriter, entertaining and practical What do thousands of kids, makers, poets, artists, steampunks, hipsters, activists, and musicians have in common? They love typewriters—the magical, mechanical contraptions that are enjoying a surprising second life in the 21st century, striking a blow for self-reliance, privacy, and coherence against dependency, surveillance, and disintegration. The Typewriter Revolution documents the movement and provides practical advice on how to choose a typewriter, how to care for it, and what to do with it—from National Novel Writing Month to letter-writing socials, from type-ins to typewritten blogs, from custom-painted typewriters to typewriter tattoos. It celebrates the unique quality of everything typewriter, fully-illustrated with vintage photographs, postcards, manuals, and more.

In the twenty years of postrevolutionary rule in Mexico, the war remained fresh in the minds of those who participated in it, while the enigmas of the revolution remained obscured. Demonstrating how textuality helped to define the revolution, Culture and Revolution examines dozens of seemingly ahistorical artifacts to reveal the radical social shifts that emerged in the war’s aftermath. Presented thematically, this expansive work explores radical changes that resulted from postrevolution culture, including new internal migrations; a collective imagining of the future; popular biographical narratives, such as that of the life of Frida Kahlo; and attempts to create a national history that united indigenous and creole elite society through literature and architecture. While cultural production in early twentieth-century Mexico has been well researched, a survey of the common roles and shared tasks within the various forms of expression has, until now, been unavailable. Examining a vast array of productions, including popular festivities, urban events, life stories, photographs, murals, literature, and scientific discourse (including fields as diverse as anthropology and philology), Horacio Legrás shows how these expressions absorbed the idiosyncratic traits of the revolutionary movement. Tracing the formation of modern Mexico during the 1920s and 1930s, Legrás also demonstrates that the proliferation of artifacts—extending from poetry and film production to labor organization and political apparatuses—gave unprecedented visibility to previously marginalized populations, who ensured that no revolutionary faction would unilaterally shape Mexico’s historical process during these formative years.

The question of the (photographic) construction and representation of national identity is not limited to the ‘long 19th century’, but is a current issue in the post-colonial, post-global, digital world. The essays by international contributors aim at studying the relationship between photographic archives and the idea of nation, yet without focusing on single symbolic icons and instead considering the wider archival and sedimental dimension.

"Brilliant and beautiful. Now this book exists, it’s hard to know how we did without it." –China Miéville, author of October A cultural and intellectual balance-sheet of the twentieth century's age of revolutions This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx's "locomotives of history," Alexandra Kollontai's sexually liberated bodies, Lenin's mummified body, Auguste Blanqui's barricades and red flags, the Paris Commune's demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals--from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to José Carlos Mariátegui, C.L.R. James, and other rebellious spirits from the South--as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

A comprehensive study of contemporary memories of China's revolutionary epoch, from the time of Japanese imperialism through the Cultural Revolution. This volume examines the memories of a range of social groups, including disenfranchised workers and rural women, who have often been neglected in scholarship.