ISBN: 9781557536136

Such an approach, Johnson maintains, is not useful, for the art historical "mothers" that she spotlights were leading practitioners of the dominant strategies of modernism. Similarly, Joh… Mehr…

Such an approach, Johnson maintains, is not useful, for the art historical "mothers" that she spotlights were leading practitioners of the dominant strategies of modernism. Similarly, Johnson shows how artistic personalities like the flamboyant Russian sculptor Teresa Ries created more than one succs de scandale. The Nile on eBay   FREE SHIPPING UK WIDE   The Memory Factory by Julie Johnson Introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan. FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Author Biography Julie M. Johnson teaches contemporary and modern art history at the University of Texas at San Antonio. She has held Fulbright and IFK residential fellowships in Vienna. Table of Contents List of Illustrations Acknowledgments Foreword Introduction Chapter One: Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist?s Biography Chapter Two: Elena Luksch-Makowsky and the New Spatial Aesthetic at the Vienna Secession Chapter Three: Broncia Koller and Interiority in Public Art Exhibitions Chapter Four: Rediscovering Helene Funke: The Invisible Foremother Chapter Five: Teresa Ries in the Memory Factory Chapter Six: Women as Public Artists in the Institutional Landscape Chapter Seven: The Ephemeral Museum of Women Artists Chapter Eight: 1900-1938: Erasure Appendix: Biographies Bibliography Index Review "This is an excellent addition to the literature on fin-de-siècle Vienna, well-researched and well-argued. It highlights little-known artists and situates them in a novel interpretation of women's roles in the art world. The author challenges dominant tropes of feminist historiography and thus sheds new light on twentieth-century art history and historiography," —Michael Gubser, James Madison University. Review Text "This is an excellent addition to the literature on fin-de-sicle Vienna, well-researched and well-argued. It highlights little-known artists and situates them in a novel interpretation of women?s roles in the art world. The author challenges dominant tropes of feminist historiography and thus sheds new light on twentieth-century art history and historiography." -- Michael Gubser , James Madison University Review Quote Woman''s Art Journal Volume 34 #1Spring/Summer 2013The Memory Factory: The Forgotten Women Artists of Vienna 1900 by Julie M. JohnsonPurdue University Press, 2012 Reviewed by Megan Brandow-Faller Surmising the perils of separate women''s art institutions, an anonymous reviewer for one of Austria''s leading feminist periodicals quipped in 1916 that "the best success that one might wish of them is that they might no longer be necessary." Julie Johnson''s meticulously researched study of women artists in Viennese modernism lends support to the idea that corrective exhibitions, institutions, and monographs serve to ghettoize women artists from the art historical canon. The Memory Factory flies in the faceof feminist art historical inquiries stressing women''s difference and embeddedness within separate institutions to argue that "women artists were not part of a separate sphere, but integrated into theart exhibitionary complex of Vienna" (4- 5). Drawing case studies of five highly successful women painters and sculptors closely connected to the Vienna Secession--Tina Blau (1845-1916), Elena Luksch-Makowsky (1878-1967), Broncia Koller (1863-1934), Helene Funke (1869-1957),2 and Teresa Feodorowna Ries (1874-1956)--Johnson refutes the historiographical tendency to lump women artists into an aesthetic "room of their own," seeking explanations for women artists'' canonical exclusion in "anew center ... whose themes have not always fit into the dominant narrative structures of art history" 111). Such an approach, Johnson maintains, is not useful, for the art historical "mothers" that she spotlights were leading practitioners of the dominant strategies of modernism. Indeed, painters like Funke and Koller often transmitted French Post- Impressionistic influences ahead of their male colleagues, in a more purely autonomous manner than Klimt and other allegorical painters, while exemplifying the Vienna Moderns'' interest in psychological interiority and nascent abstraction in the decorative. Johnson considers these artists'' erasure from the art historical record highly jarring, given that their life and work embodied textbook examples of misunderstood modernist forerunners: e.g., stylistic innovation, run-ins with conservative authorities, as well as acclaim abroad in advance of recognition at home. Similarly, Johnson shows how artistic personalities like the flamboyant Russian sculptor Teresa Ries created more than one succs de scandale. For instance, a well-known anecdote tells of Ries''s delightfully provocative life-size marble sculpture of a witch sharpening her toenails before the Sabbath attracting comment from conservative Emperor Franz Josef. Today, however, Ries''s work remains buried in the basement of the Vienna City Museum Depot, a poignant comment on the necessity of active scholarly intervention to combat the invisibility of women artists'' works. Indeed, in light of Ries''s and other artists'' Jewish backgrounds, Johnson''s work serves to remind the reader thatfin-de-sicle Vienna is not a safe historical landscape divorced from the exigencies of two World Wars and the Anschlu. On the contrary, as the final chapter on the post-1938 erasure of these artists'' lives and legacies reveals, the seemingly innocent territory of Vienna 1900 intersects with Austria''s turbulentrelationship with National Socialism and the Holocaust more directly than scholars and the public have previously acknowledged. Historiographically and theoretically, The Memory Factory is as ambitious andcomplex as the book''s richly documented endnotes. The author''s methodology draws more from the arsenal of memory and Vergangenheitsbewltigung (''coming to terms with the past'') studies than traditional feminist art historical inquiry. As such, Johnson privileges not only formal visual analysis, which indeed she does masterfully, but contextualized readings of nonvisual sources such as feuilletons,artist biographies, and humorous texts. Historiographically, The Memory Factory represents an important contribution to the Schorske dialogue on Viennese modernism. In his classic collection of interdisciplinary essays Fin-de-sicle Vienna: Politics and Culture, cultural historian Carl Schorske attributed a blossoming of modern art, culture and literature to the disillusioned ''sons of liberalism'' whoabandoned Late-Imperial Austria''s increasingly antagonistic political reality to find meaning in an aesthetic culture of feeling.For Schorske and his followers, the heroic trio of Klimt-Schiele- Kokoschka exemplified a generational struggle that exploded in Klimt''s wellknown walkout from the conservativeAustrian Artists Guild to found the Vienna Secession in (1897), an artists'' union dedicated to the Philosophy of Ver Sacrum, the idea of art as a sacred spring to rejuvenate modern life. Making women artists visible in the Schorske dialogue on Viennese modernism, a body of literature which has, accordingto the author, "inadvertently reinforced the silencing of women''s pasts" or promoted false notions that women could not exhibit publicly whatsoever, represents an important corrective in Johnson''s study (3). Building on the pioneering studies of Sabine Plakolm- Forsthuber, Johnson''s book numbers among the first English-language works on women artists in the circles of the Vienna Secession. Johnson, however, casts her net more broadly than just Vienna, rethinking women artists'' non-participation in the shaping of international modernism as defined by Clement Greenberg. As Johnson duly notes, Greenberg', Purdue University Press<

ISBN: 9781557536136

Gebundene Ausgabe

New York: Random House, 1999. First Edition [stated]. Presumed to be first printing based on Random House convention. Hardcover. Very good/Very good. Jerry Bauer (Author photograph). [8… Mehr…

New York: Random House, 1999. First Edition [stated]. Presumed to be first printing based on Random House convention. Hardcover. Very good/Very good. Jerry Bauer (Author photograph). [8], 258, [6] pages. DJ has slight edge wear and soiling. Alan Furst (born 1941) is an American author of historical spy novels. Furst has been called "an heir to the tradition of Eric Ambler and Graham Greene," whom he cites along with Joseph Roth and Arthur Koestler as important influences. Most of his novels since 1988 have been set just prior to or during the Second World War and he is noted for his successful evocations of Eastern European peoples and places during the period from 1933 to 1944. While attending general studies courses at Columbia University, he became acquainted with Margaret Mead, for whom he later worked. Before becoming a full-time novelist, Furst worked in advertising and wrote magazine articles, most notably for Esquire, and as a columnist for the International Herald Tribune. The year 1988 saw publication of Night Soldiersinspired by his 1984 trip to Eastern Europe on assignment for Esquirewhich invigorated his career and led to a succession of related titles. His output since 1988 includes a dozen works. He is especially noted for his successful evocations of Eastern European peoples and places during the period from 1933 to 1944. While all his historical espionage novels are loosely connected, only The World at Night and Red Gold share a common plot. Writing in The New York Times, the novelist Justin Cartwright says that Furst, "has adopted a European sensibility." Furst lived for many years in Paris, a city that he calls "the heart of civilization" which figures significantly in all his novels. Paris. Autumn, 1941. In a shabby hotel off the place Clichy, the course of the French resistance is about to change. German tanks are rolling toward Moscow. Stalin has issued a decree: all partisan operatives are to strike behind enemy lines--from Kiev to Brittany. Set in the back streets of Paris and deep in occupied France, Red Gold moves with quiet and pervasive menace as predators from the dark edge of the war--arms dealers, lawyers, spies, and assassins--emerge from the shadows of the Parisian underworld. In their midst is Jean Casson, once a producer of gangster films, now living on a few francs a day and hunted by the Gestapo. As the German occupation tightens, Casson is drawn into an ill-fated mission: running guns to combat units of the French Communist party. Their NKVD contact, a former Comintern operative named Weiss--his seventeenth name--begins to orchestrate a series of attacks against the Germans. Reprisals are brutal. Fear spreads through the city. At last the real resistance has begun. Red Gold masterfully recreates the duplicitous world of the French resistance in the worst days of World War II. Derived from a Kirkus review: More masterful, richly atmospheric WWII spy fiction sends Furst's despairing, dissolute, but delightfully resourceful film producer Jean Casson on yet another existential errand among the fiends and fanatics of the French Resistance. Having spied, loved, and lost in The World at Night, Casson is spending the cold autumn of 1941 hiding out from the Gestapo in a sleazy Paris pensione, spending his dwindling pile of Vichy francs on sex and cigarettes. Fearing that his spiteful landlady may turn him in, he pawns his overcoat, falls in with a gang of makes a fortune selling a sack of stolen sugar, and loses everything at a decadent nightclub when he's robbed and beaten by gendarmes who, instead of tossing him to the Nazis, convey him to his former intelligence commander, DeGrave, now a Vichy bureaucrat. DeGrave wants Casson to dig up a few of his left-leaning filmmaking cronies to provide liaison between a group of Vichy officers, eager to subvert the Nazi occupation, and a fanatical group of Communist terrorist fighters, whose reckless bloodlust is doing more harm than good. Casson, sunk in Gallic funk, accepts becausewell, hed rather sleep in a better hotel. The Communists, supervised by a fearsomely intelligent fatalist named Weiss, come across as a mixed bag of trembling adolescents, cocky Jews, and violent thugs. Alas, Weiss wont take Casson seriously until Casson delivers to him a thousand machine guns, with ammunition. DeGrave agrees to finance the guns, and slyly gives Casson a reason to live by introducing him to Helene Shrieber, another wounded soul who beds him, then warily permits herself to fall in love. Furst's intricate exploration of a stylishly lethal war-torn Paris never fails to fascinate. Witty, inventive, distinctively French film-noir espionage, told with the terse brutality and jaundiced romanticism of Chandler and Hammett at their peak., Random House, 1999, 3, paperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book., 2.5, Hardback. New., 6, paperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book., 2.5, Pantagraph Printing Co, 1952. First Edition. Hardcover. Like New/Very Good . With Preface, sixteen b/w plates including frontispiece portrait all on unpaged leaves, unpaged foldout map, Appendix, Bibliography, and Index. Uncommon biography of cattle rancher and politician Isaac Funk of Funks Grove, Illinois who served in the Illinois House of Representatives and Senate as well as being co-founder of Illinois Wesleyan University., Pantagraph Printing Co, 1952, 4, hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book., 2.5, Indianapolis, IN: Bobbs-Merrill. Very Good in Very Good- dust jacket. 1937. Hardcover. Text is clean. Cover shows normal wear, spine ends gently bumped. Dust jacket shows shelfwear, chipping at corners and spine ends, several small closed tears to front panel of DJ. DJ is not price clipped. ; [Bloom, Who Should We Then Read? , pp, 271-281]; Childhood of Famous Americans; B&W Illustrations; 165 pages ., Bobbs-Merrill, 1937, 3, Hardback. New., 6, Paperback / softback. New. The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group., 6<

2012, ISBN: 1557536139

[EAN: 9781557536136], Neubuch, [PU: Purdue University Press, West Lafayette], Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienn… Mehr…

[EAN: 9781557536136], Neubuch, [PU: Purdue University Press, West Lafayette], Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability., Books<

2012, ISBN: 1557536139

[EAN: 9781557536136], Neubuch, [PU: Purdue University Press, West Lafayette], Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienn… Mehr…

[EAN: 9781557536136], Neubuch, [PU: Purdue University Press, West Lafayette], Paperback. The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan. Shipping may be from multiple locations in the US or from the UK, depending on stock availability., Books<

ISBN: 9781557536136

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and par… Mehr…

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. Trade Books>Trade Paperback>World History>Europe History>Europe History, Purdue University Press Core >1<