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05306aam a2200409 i 4500 001 163A5BCA550D11E9884C074097128E48 003 SILO 005 20190402010148 008 180712s2018 nyua 000 0 eng 010 $a 2018033417 020 $a 1941701906 020 $a 9781941701904 035 $a (OCoLC)1044770716 040 $a DLC $b eng $e rda $c DLC $d ERASA $d OCLCF $d OCLCO $d BDX $d TOH $d UKMGB $d YDX $d CHVBK $d OCLCO $d CRU $d CAD $d YUS $d GZN $d OCLCA $d SILO 042 $a pcc 050 00 $a N72.P6 $b V58 2018 082 00 $a 709.04 $2 23 100 1 $a Viveros-Faune, Christian, $e author. 245 10 $a Social forms : $b a short history of political art / $c Christian Viveros-FauneÌ. 264 1 $a New York, New York : $b David Zwirner Books, $c [2018] 300 $a 1 volume (unnumbered pages) : $b illustrations (chiefly color) ; $c 21 cm 505 0 $a Introduction -- Francisco de Goya y Lucientes: The Disasters of War (1810-20, published 1863) -- EugeÌne Delacroix: July 28: Liberty Leading the People (1830) -- J.M.W. Turner: Slave Ship (Slavers Throwing Overboard the Dead and the Dying, Typhoon coming On) (1840) -- Gustave Courbet: The Stone Breakers (1849) -- HonoreÌ Daumier: The Third Class Carriage (c. 1862-64) -- EÌdouard Manet: The Execution of Emperor Maximilian (1868-69) -- KaÌthe Kollwitz: Memorial Sheet for Karl Liebknecht (1920) -- Vladimir Tatlin: Monument to the Third International (1920) ; George Grosz: Ecce Homo (1922-23) -- Max Beckmann: Departure (1932-35) -- Walker Evans: Bud Fields and His Family, Hale County, Alabama (1936, published 1941) -- Pablo Picasso: Guernica (1937) -- JoseÌ Clemente Orozco: Carnival of Ideologies (1937-39) -- Jacob Lawrence: The Migration Series (1940-41) -- Robert Motherwell: Elegy to the Spanish Republic No. 70 (1961) -- Robert Rauschenberg: Retroactive I (1963) -- Andy Warhol: Orange Disaster #5 (1963) -- Ed Ruscha: The Los Angeles County Museum on Fire (1965-68) -- Grupo de Artistas de Vanguardia: TucumaÌn arde (1968) -- Art Workers' Coalition Q. and babies? A. And babies. (1969) -- Cildo Meireles: Insertions into Ideological Circuits: Coca-Cola Projeect (1970) -- Hans Haacke: Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (1971) -- Philip Guston: San Clemente (1975) -- Cindy Sherman: Untitled Film Stills (1977-80) -- Jenny Holzer: Truisms (1978-87) -- 505 0 $a Robert Mapplethorpe: Man in Polyester Suit, 1980 (1980) -- Joseph Beuys: 7000 Oaks (1982) -- Adrian Piper: My Calling (Card) #1 and #2 (1986-90) -- Barbara Kruger: Untitled (We Don't Need Another Hero) (1987) -- The Silence=Death Project: SILENCE=DEATH (1987) -- Felix Gonzalez-Torres: "Untitled" (Perfect Lovers) (1987-90) -- Gerhard Richter: October 18, 1977 (1988) -- Guerrilla Girls: Do women have to be naked to get into the Met. Museum? (1989) -- David Hammons: In the Hood (1993) -- Shirin Neshat: Women of Allah (1993-97) -- Rick Lowe: Project Row Houses (1993-ongoing) -- Kara Walker: Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart (1994) -- Chris Ofili: The Holy Virgin Mary (1996) -- Francis AlyÌs: Re-enactments (2000) -- Bansky: Flower Thrower (2003) -- Kerry James Marshall: Black Painting (2003-6) -- Paul Chan: Waiting for Godot in New Orleans (2007) -- Shepard Fairey: (after Mannie Garcia) Barack Obama "HOPE" (2008) -- Ai Weiwei: Remembering (2009) -- Tania Bruguera: Tatlin's Whisper #6 (Havana Version (2009/2014) -- Pussy Riot: Christ the Savious Cathedral Performance (2012) -- Thomas Hirschhorn: Gramsci Monument (2013) -- SUPERFLEX: Hospital Equipment (2014-15) -- Charlie Hebdo: Cover of No. 1178, January 14, 2015 (2015) -- Theaster Gates: Stony Island Arts Bank (2015-ongoing). 520 8 $a In 'Social Forms: A Short History of Political Art', renowned critic, curator and writer Christian Viveros-FauneÌ has picked 50 representative artworks --from Francisco de Goya's The Disasters of War (1810-20) to David Hammons' In the Hood (1993)-- that give voice to some of modern art's strongest calls to political action.0In accessible and witty entries on each piece, Viveros-FauneÌ paints a picture of the context in which each work was created, the artist's background and the historical impact of each contribution. Sometimes artists create projects that subvert existing power structures; sometimes they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso's Guernica and its place at the 1937 World's Fair, or Jenny Holzer's Truisms (1977-79), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with. 650 0 $a Art $x Political aspects. 650 0 $a Art, Modern $x Themes, motives. 650 7 $a Art, Modern $x Themes, motives. $2 fast $0 (OCoLC)fst00816663 650 7 $a Art $x Political aspects. $2 fast $0 (OCoLC)fst00815309 650 7 $a ART / General. $2 bisacsh 650 7 $a Kunst $2 gnd 650 7 $a Politik $2 gnd 650 7 $a Politische Kunst $2 gnd 941 $a 2 952 $l USUX851 $d 20210105040952.0 952 $l OVUX522 $d 20191213022337.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=163A5BCA550D11E9884C074097128E48 994 $a 92 $b IWAInitiate Another SILO Locator Search