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Description
ForeshadowedDiscover the compelling world of modern art through Andrew Spira's insightful exploration in 'Foreshadowed.' This beautifully written book delves into the significance of Kasimir Malevich's iconic 1915 painting, Black Square, shedding light on its historical context and artistic influences. Designed for artists, historians, and art lovers alike, this meticulously researched publication ties together a rich tapestry of painters, writers, philosophers,
Discover the compelling world of modern art through Andrew Spira's insightful exploration in 'Foreshadowed.' This beautifully written book delves into the significance of Kasimir Malevich's iconic 1915 painting, Black Square, shedding light on its historical context and artistic influences. Designed for artists, historians, and art lovers alike, this meticulously researched publication ties together a rich tapestry of painters, writers, philosophers, and scientists who inadvertently converged on the powerful imagery of the black square over the past five centuries. With an ISBN of 9781789145359, 'Foreshadowed' provides a fresh perspective on how past works resonate with and illuminate Malevich's revolutionary ideas, making it an essential addition to your art collection. Immerse yourself in this intriguing narrative that explores themes of artistic evolution and ideological reflection. Brand new and published by Reaktion Books in 2022, this book presents a remarkable journey that enhances your understanding of abstract art’s lineage and legacy. Plus, enjoy free shipping on your order, with delivery expected within 6 weeks. Please note, once your order is placed, it cannot be cancelled. Unlock the secrets of artistic history and discover why 'Foreshadowed' is a must-have for anyone passionate about art and its transformative power.Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9781789145359
Year: 2022
Publisher: Reaktion Books
Description:
When Kasimir Malevich's Black Square was produced in 1915, no-one had ever seen anything like it before. And yet it does have precedents. In fact, over the previous 500 years, several painters, writers, philosophers, scientists and censors - each working independently towards an absolute statement of their own - alighted on the form of the black square or rectangle, as if for the first time.
This book explores the resonances between Malevich's Black Square and its precursors, showing how a 'genealogical' thread binds them together into an intriguing, and sometimes quirky, sequence of modulations. Andrew Spira's book explores how each predecessor both 'foreshadows' Malevich's work and, paradoxically, throws light on it, revealing layers of meaning that are often overlooked but which are as relevant today as ever.
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4.7 ★★★★★
Based on 14 reviews
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Product Reviews
★★★★★ 5
Gender Roles is a scam
Format: Paperback
This is why most women play dumb. They play dumb to please males that it becomes who they are. It’s a waste of a lifetime to make yourself feel small just to make someone feel good about themselves.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 15, 2021
★★★★★ 5
Five Stars
Format: Paperback
Why read Butler when we have Wittig?
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 27, 2017
★★★★★ 5
Five Stars
Format: Paperback
Great and thought-provoking!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 16, 2017
★★★★★ 5
Five Stars
Format: Paperback
excellent sevice
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 23, 2015
★★★★★ 5
Gem from a brilliant thinker.
Format: Paperback
This book will forever redefine feminism for its readers.
There are two threads: one political, the other literary commentary. Fortunately, Witting pulls the former into the latter. The astute and radical political critique in Wittig's book is uniquely powerful.
Wittig addresses the question of how a movement is comprised of both group energy and individual experience. The theory, legacy, and limits of Marx and Engels are discussed.
Then, drawing on de Beauvoir and other iconoclasts, Wittig addresses our dominator culture in a way that goes directly to its core.
Wittig deals efficiently yet persuasively with the argument over whether nature or culture is responsible for inequality, declaring that "there is no sex." This statement becomes the book's alpha and omega, and the lens through which Wittig shows us history, literature, and the future of activism.
Like whiteness, maleness is a social category that can be renounced. Man (Homo) once meant everybody in the human community -- it was indeed generic, in the unifying sense. Unfortunately, the word has so frequently been used to describe a socially constructed group that expels half of itself in order to oppress it, "man" is now identified with those identified as male.
In the essay "The Category of Sex" Wittig writes:
"The perenniality of the sexes and the perenniality of slaves and masters proceed from the same belief, and, as there are no slaves without masters, there are no women without men. The ideology of sexual difference functions as censorship in our culture by masking, on the grounds of nature, the social opposition between man and women. Masculine/feminine, male/female are the categories which serve to conceal the fact that social differences always belong to an economic, political, ideological order. ...The masters explain and justify the established divisions as a result of natural differences."
I understand that Wittig has recently passed away. If only I had discovered this book a little earlier, so that I could have met the author. That feeling, I suppose, is the sign of a truly good read. "A text by a minority author is only successful if it succeeds in making the minority point of view unviersal" writes Wittig --and to read this book from beginning to end is to find that the author has done just that.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 11, 2004
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