The wave of anti-authoritarian political activity associated with the term “1968” can by no means be confined under the rubric of “protest,” understood narrowly in terms of street marches and other reactions to state initiatives. Indeed, the actions generated in response to “1968” frequently involved attempts to elaborate resistance within the realm of culture generally, and in the arts in particular. This blurring of the boundary between art and politics was a characteristic development of the political activism of the postwar period. This volume brings together a group of essays concerned with the multifaceted link between culture and politics, highlighting lesser-known case studies and opening new perspectives on the development of anti-authoritarian politics in Europe from the 1950s to the fall of Communism and beyond.

Presents profiles of six European artists and photographs of their work to showcase the use of modernism on objects and products used for daily life during the twentieth century.

Exploring the gray zone of infiltration and subversion in which the Nazi and Communist parties sought to influence and undermine each other, this book offers a fresh perspective on the relationship between two defining ideologies of the twentieth century. The struggle between Fascism and Communism is situated within a broader conversation among right- and left-wing publicists, across the Youth Movement and in the “National Bolshevik” scene, thus revealing the existence of a discourse on revolutionary legitimacy fought according to a set of common assumptions about the qualities of the ideal revolutionary. Highlighting the importance of a masculine-militarist politics of youth revolt operative in both Marxist and anti-Marxist guises, Weimar Radicals forces us to re-think the fateful relationship between the two great ideological competitors of the Weimar Republic, while offering a challenging new interpretation of the distinctive radicalism of the interwar era.

Whether aesthetically or politically inspired, graffiti is among the oldest forms of expression in human history, one that becomes especially significant during periods of social and political upheaval. With a particular focus on the demographic, ecological, and economic crises of today, this volume provides a wide-ranging exploration of urban space and visual protest. Assembling case studies that cover topics such as gentrification in Cyprus, the convulsions of post-independence East Timor, and opposition to Donald Trump in the American capital, it reveals the diverse ways in which street artists challenge existing social orders and reimagine urban landscapes.

Ordinary. Banal. Quotidian. These words are rarely used to praise architecture, but in fact they represent the interest of a growing number of architects looking to the everyday to escape the ever-quickening cycles of consumption and fashion that have reduced architecture to a series of stylistic fads. Architecture of the Everyday makes a plea for an architecture that is emphatically un-monumental, anti-heroic, and unconcerned with formal extravagance. Edited by Deborah Berke and Steven Harris, this collection of writings, photo-essays, and projects describes an architecture that draws strength from its simplicity, use of common materials, and relationship to other fields of study. Topics range from a website that explores the politics of domesticity, to a transformation of the sidewalk in Los Angeles' Little Tokyo, to a discussion of the work of Robert Venturi and Denise Scott Brown. Contributors include Margaret Crawford, Peggy Deamer, Deborah Fausch, Ben Gianni and Mark Robbins, Joan Ockman, Ernest Pascucci, Alan Plattus, and Mary-Ann Ray. Deborah Berke and Steven Harris are currently associate professors of architecture at Yale University, and have their own practices in New York City.

Life in the modernist era not only moved, it sped. As automobiles, airplanes, and high-speed industrial machinery proliferated at the turn of the twentieth century, a fascination with speed influenced artists—from Moscow to Manhattan—working in a variety of media. Russian avant-garde literary, visual, and cinematic artists were among those striving to elevate the ordinary physical concept of speed into a source of inspiration and generate new possibilities for everyday existence. Although modernism arrived somewhat late in Russia, the increased tempo of life at the start of the twentieth century provided Russia’s avant-garde artists with an infusion of creative dynamism and crucial momentum for revolutionary experimentation. In Fast Forward Tim Harte presents a detailed examination of the images and concepts of speed that permeated Russian modernist poetry, visual arts, and cinema. His study illustrates how a wide variety of experimental artistic tendencies of the day—such as “rayism” in poetry and painting, the effort to create a “transrational” language (zaum’) in verse, and movements seemingly as divergent as neo-primitivism and constructivism—all relied on notions of speed or dynamism to create at least part of their effects. Fast Forward reveals how the Russian avant-garde’s race to establish a new artistic and social reality over a twenty-year span reflected an ambitious metaphysical vision that corresponded closely to the nation’s rapidly changing social parameters. The embrace of speed after the 1917 Revolution, however, paradoxically hastened the movement’s demise. By the late 1920s, under a variety of historical pressures, avant-garde artistic forms morphed into those more compatible with the political agenda of the Russian state. Experimentation became politically suspect and abstractionism gave way to orthodox realism, ultimately ushering in the socialist realism and aesthetic conformism of the Stalin years.

Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.