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Moritz Retzsch's Prints in Circulation
In a new approach to Goethe's “Faust I”, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
Moritz Retzsch's Prints in Circulation
In a new approach to Goethe's “Faust I”, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This study was facilitated by the Institut Universitaire de France / IUF. .
Black Material Culture and the Development of a Consumer Society in South Africa, 1800-2020
Since the early nineteenth century, the things which Black South Africans have had in their homes have changed completely. They have adopted things like tables, chairs, knives, forks, spoons, plates, cups and saucers, iron pots, beds, blankets, European clothing, and later electronic apparatus. Thus they claimed modernity, respectability and political inclusion. This book is the first systematic analysis of this development. It argues that the desire to possess such goods formed a major part of the drive behind the anti-apartheid struggle, and that the demand to consume has significantly influenced both the economy and the politics of the country.
Black Material Culture and the Development of a Consumer Society in South Africa, 1800-2020
Since the early nineteenth century, the things which Black South Africans have had in their homes have changed completely. They have adopted things like tables, chairs, knives, forks, spoons, plates, cups and saucers, iron pots, beds, blankets, European clothing, and later electronic apparatus. Thus they claimed modernity, respectability and political inclusion. This book is the first systematic analysis of this development. It argues that the desire to possess such goods formed a major part of the drive behind the anti-apartheid struggle, and that the demand to consume has significantly influenced both the economy and the politics of the country.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.