DARIO GAMBONI THE DESTRUCTION OF ART PDF

Learn more about the actions Yale University Press is taking. The Destruction of Art is highly recommended for inclusion in all academic collections that participate in such interdisciplinary exchanges. Lawrence, Washington Times. Skip to main content. Iconoclasm and Vandalism since the French Revolution. Description Reviews.

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Separate different tags with a comma. To include a comma in your tag, surround the tag with double quotes. Please enable cookies in your browser to get the full Trove experience. Skip to content Skip to search. Gamboni, Dario. Published London : Reaktion Books, Language English View all editions Prev Next edition 1 of 6.

Content Types text Carrier Types online resource volume Physical Description 1 online resource pages : illustrations. Series Picturing history Subjects Art -- Mutilation, defacement, etc. Art, Modern -- 19th century. Art, Modern -- 20th century. Art, Modern. Art -- Political aspects. Art, Modern -- 20th century -- Psychological aspects.

Art, Modern -- Psychological aspects. Art -- Mutilation, defacement, etc -- History. Summary Last winter, a man tried to break Marcel Duchamp's Fountain sculpture.

The sculpted foot of Michelangelo's David was damaged in by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts.

Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates throug. Dario Gamboni reassesses the motives and circumstances behind deliberate attacks carried out - by institutions as well as individuals - on public buildings, churches, sculptures, paintings and other works of art in the nineteenth and twentieth centuries.

Motivated in the first instance by the recent destruction of countless monuments in Europe's ex-Communist states, which challenged the assumption that iconoclasm was truly a thing of the past, the author has discovered just how widespread the destruction of art is today, whose forms include explicable and inexplicable vandalism, political protest and censorship of every kind.

The history of iconoclasm is shown to reflect the changing and conflicting definitions of art itself. Theories and Methods; 2. A Historical Outline; 3. The Fall of the 'Communist Monuments'; 4. Political Iconoclasm in Democratic Societies; 5. Outside the First World; 6. Iconoclasm and Multiplication; 7. Free Art and the 'Free World'; 8. Legal Abuse; 9. The Degradation of Art in Public Places; Museums and Pathology; Reformations of Church Art; Modern Art and Iconoclasm; Mistaking Art for Refuse.

Theories and Methods 2. A Historical Outline 3. The Fall of the 'Communist Monuments' 4. Political Iconoclasm in Democratic Societies 5. Outside the First World 6. Iconoclasm and Multiplication 7. Free Art and the 'Free World' 8. Legal Abuse 9. The Degradation of Art in Public Places Museums and Pathology Reformations of Church Art Modern Art and Iconoclasm Mistaking Art for Refuse Disqualification and Heritage. Notes Includes bibliographical references and index.

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The Destruction of Art : Iconoclasm and Vandalism since the French Revolution

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The Destruction of Art

Enlarge Image. With each incident, artists and intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring spectres of censorship, iconoclasm and vandalism that surround such acts. Initially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigated other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon that still thrives today. As he demonstrates through analyses of incidents occurring in the nineteenth and twentieth centuries in both the United States and Europe, a complex relationship exists among the evolution of modern art, contemporary destruction of art, and the long history of iconoclasm.

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