Art History & Archaeology
Permanent URI for this communityhttp://hdl.handle.net/1903/2214
Browse
Search Results
Item The Sloth of the Author: In Defense of a Call to Inaction(2020) Brady, Laura Michiko; Mansbach, Steven; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Mladen Stilinović’s (1947-2016) text “In Praise of Laziness” (1993) makes seemingly absurd claims about the relationship between art and laziness which are most often interpreted as political commentary in his typically cynical brand of humor. While this humor is indeed a consistent and essential element of his work, such readings fail to critically assess the depth of his notion of “laziness.” I conduct a thorough unpacking of his definition in order to reveal “laziness” as a form of constructive passivity with a potentially pacifist dimension. With particular focus on his artist books and works dealing with themes of time and pain, I demonstrate the myriad ways in which Stilinović’s notion of “laziness” manifests throughout his oeuvre. Contextualization of “In Praise of Laziness” has been dominated by oversimplified narratives of a global “East/West” divide while Stilinović’s particular geopolitical circumstances as a member of the last Yugoslav generation have been overlooked. Following a careful recontextualization of “In Praise of Laziness,” I suggest that this work may be considered a critical response to the violent dissolution of Yugoslavia in the 1990s.Item THE ARTĚL COOPERATIVE (1908-1934): CRAFTING CZECH MODERNITY(2020) Bratton, Lyndsay; Mansbach, Steven A; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Eight founding members of Artěl—the Prague avant-garde’s response to the Wiener Werkstätte—united in 1908 with a manifesto proclaiming their goals to combat inferior factory substitutes for handcrafted designs and to restore society with a sense of taste through affordable products for everyday life. Across Artěl’s stylistic, political, and ideological development, its members consistently demonstrated the complementary relationship between the folk and the modern. Whether working in the Czech variant of Cubism in the final years of the Habsburg Dual Monarchy, the folk-infused nationalist “decorativism” of the First Czechoslovak Republic after 1918, or the sober Functionalism of the late 1920s, Artěl designers struck an aesthetic balance between regional Czech folk arts and international avant-garde styles. The group thereby served to construct and promote a distinctively Czech visual culture for the international stage at a transformative moment in Czech history.