Lee Friedlander's 'The Little Screens' first appeared as a 1963 photo-essay in Harper's Bazaar, with commentary by Walker Evans. Six untitled photographs show television screens broadcasting eerily glowing images of faces and figures into unoccupied rooms in homes and motels across America. As distinctive a portrait of an era as Robert Frank's 'The Americans', 'The Little Screens' grew in number and was not brought together in its entirety until a 2001 exhibition at the Fraenkel Gallery in San Francisco. Friedlander (b. 1934) is known for his use of surfaces and reflections--from storefront windows to landscapes viewed through car windshields -- to present a pointed view of American life. The photographs that make up The Little Screens represent an early example of this photographic strategy, offering the narrative of a peripatetic photographer moving through the landscape of 1960s America that was in thrall to a new medium. In this astute study, Saul Anton argues that The Little Screens marked the historical intersection of modern art and photography at the moment when television came into its own as the dominant medium of mass culture.
Lee Friedlander's 'The Little Screens' first appeared as a 1963 photo-essay in Harper's Bazaar, with commentary by Walker Evans. Six untitled photographs show television screens broadcasting eerily glowing images of faces and figures into unoccupied rooms in homes and motels across America. As distinctive a portrait of an era as Robert Frank's 'The Americans', 'The Little Screens' grew in number and was not brought together in its entirety until a 2001 exhibition at the Fraenkel Gallery in San Francisco. Friedlander (b. 1934) is known for his use of surfaces and reflections--from storefront windows to landscapes viewed through car windshields -- to present a pointed view of American life. The photographs that make up The Little Screens represent an early example of this photographic strategy, offering the narrative of a peripatetic photographer moving through the landscape of 1960s America that was in thrall to a new medium. In this astute study, Saul Anton argues that The Little Screens marked the historical intersection of modern art and photography at the moment when television came into its own as the dominant medium of mass culture.
Kunsthalle Tbilisi and Goethe Institute Tbilisi is pleased to present Tabula Rasa, an exhibition of stainless steel sculptures by Gabriela Von Habsburg. As well as a sculptor, Gabriela von Habsburg is a diplomat and was Georgia's ambassador to Germany from 2009 to 2013. She is also a professor at Free University of Tbilisi. In her many roles, Von Habsburg has said her goal has been to raise the international profile of Georgia and its art scene. This exhibition marks 20 years of her involvement with the country. On display in the courtyard of the Georgian National Museum, the show contextualizes her work with that of four students from the Visual Art, Architecture and Design School at the Free University of Tbilisi: Giorgi Geladze, Salome Chigilasvhili, Liza Tsindeliani and Giorgi Vardiashvili. Tabula Rasa explores common ground between von Habsburg and the young artists. Title of the show refers to the freedom of context, the clean slate, Georgia provided for her. Twenty years ago when Georgia has been a place with its own distinct artistic identity, independent of the Western art scene, where she too could be free to create and exhibit without the pressure of influences back home. Similarly, the young Georgian artists in this show are starting from zero, without reference to their immediate predecessors, simply responding to their time and environment. In addition to her work on show at the museum, Von Habsburg has three public sculptures on show in Georgia. Most notable is the revolving sculpture in front of the former presidential palace in the capital Tbilisi. Another is installed in the city's central Mziuri Park. The third work is to be found in the Sculpture Park in the Black Sea port city of Poti. Salome Chigilashvili is exhibiting a readymade sculpture with a sound installation. Lisa Tsindeliani's steel sculpture echoes the surrounding space of the museum courtyard. Giorgi Vardiashvili has constructed a triumphal arch with scaffolding bars, veiling it with industrial fabric. Giorgi Geladze paints on the wrapping for construction materials and this serves as a backdrop for the exhibition. Gabriela Von Habsburg's work has recently been on show at the following locations: Museum Schloß Mochental, Museum Meiningen, Schlosspavillon Ismaning and Diözesan Museum Freising. Her work is also part of Biennale Internationale Donna in Triest, Italy. The exhibition is accompanied by catalogue with essays by Kimberly Bradley and Saul Anton. This exhibition is supported by the Georgian National Museum.
This dazzling collection of shorter fiction describes a series of self-awakenings -- a suburban divorcee deciding among lovers, a celebrity drawn into his cousin's life of crime, a father remembering bygone Chicago, an artist, and an academic awaiting extradition for some unnamed offense.
This new study offers a fresh interpretation of apartheid South Africa. Emerging out of the author's long-standing interests in the history of racial segregation, and drawing on a great deal of new scholarship, archival collections, and personal memoirs, he situates apartheid in global as well as local contexts. The overall conception of Apartheid, 1948-1994 is to integrate studies of resistance with the analysis of power, paying attention to the importance of ideas, institutions, and culture. Saul Dubow refamiliarises and defamiliarise apartheid so as to approach South Africa's white supremacist past from unlikely perspectives. He asks not only why apartheid was defeated, but how it survived so long. He neither presumes the rise of apartheid nor its demise. This synoptic reinterpretation is designed to introduce students to apartheid and to generate new questions for experts in the field.
In Cents and Sensibility, an eminent literary critic and a leading economist make the case that the humanities—especially the study of literature—offer economists ways to make their models more realistic, their predictions more accurate, and their policies more effective and just. Arguing that Adam Smith’s heirs include Austen, Chekhov, and Tolstoy as much as Keynes and Friedman, Gary Saul Morson and Morton Schapiro trace the connection between Adam Smith’s great classic, The Wealth of Nations, and his less celebrated book on ethics, The Theory of Moral Sentiments. The authors contend that a few decades later, Jane Austen invented her groundbreaking method of novelistic narration in order to give life to the empathy that Smith believed essential to humanity. More than anyone, the great writers can offer economists something they need—a richer appreciation of behavior, ethics, culture, and narrative. Original, provocative, and inspiring, Cents and Sensibility demonstrates the benefits of a dialogue between economics and the humanities and also shows how looking at real-world problems can revitalize the study of literature itself. Featuring a new preface, this book brings economics back to its place in the human conversation.
Gary Saul Morson brings to life the intense intellectual debates shaping two centuries of Russian writing. Dialogues of great writers with philosophical wanderers and blood-soaked radicals reveal a contest between unyielding dogmatism and open-minded wonder, rendering the Russian literary canon at once distinctive and universally human.
In The Life and Times of Charles R. Crane, Norman E. Saul analyzes the contributions of Charles R. Crane, world traveler, businessman, diplomat, and philanthropist in the setting of his times. Crane acquired his appreciation for Russian culture and life through travel in the country, making a total of twenty-four trips to Russia. He developed friendships and professional relationships with many prominent Russians in political, cultural, and artistic spheres in addition to his connections to important figures in American history such as Woodrow Wilson. As the son of a Chicago industrialist with little formal education, Charles R. Crane enjoyed remarkable success serving as a financial backer and advisor to the Woodrow Wilson administration, founding member of the 1917 Root Commission to Russia, minister to China, and establishing a factory in Russia to manufacture air brakes for the Russian railroad. He devoted a considerable amount of his own time and resources to educating Americans about the Russian people. He sponsored visiting lecturers, subsidized publications, and commissioned works by Russian artists. Charles Crane was arguably the first true American globalist. His activities involved Russia, China, and the Middle East, but Saul emphasizes his travels in Russia and his role in the development and promotion of Russian studies in America. Crane represented the United States becoming a world power in business and diplomacy, and fostered an American appreciation and knowledge of Russian, Asian, and Middle Eastern societies. By studying this unusual man, Saul explores the world in which he lived and traveled. The relationship between America and Russia has always been a complex and fascinating one, and Saul shines light on a pivotal period in that relationship.
A long and distinguished tradition of writers have used the form of a satirical dictionary to undermine the received ideas of their day. Voltaire wrote a sharply humorous "Philosophical Dictionary," while Samuel Johnson's dictionary of the English language was derisive and opinionated. These early dictionaries and encyclopedias were really weapons in a struggle for the soul of civilization between forces of humanistic enlightenment and the forces of orthodoxy and dogmatism. Their authors attacked and exposed the half-truths of their day by showing that it was possible to think differently about the social and political arrangements that everyone took for granted. But as John Ralston Saul argues in this decidedly unorthodox book, modern dictionaries have once again been captured by the forces of orthodoxy—albeit this time a rationalist orthodoxy. Our language has become as predictable, fragmented, and rhetorical as it was in the 18th century, divided as it is by special interest groups into dialects of expertise that are hermetically sealed off and inaccessible to citizens. In The Doubter's Companion, a marvelous subversive contribution to the great 18th century tradition of the humanist dictionary, Saul skewers and discredits the accepted content of common terms like Advertising, Academics, and Air Conditioning (defined as "an efficient means for spreading disease in enclosed public spaces"); Cannibal, Conservative, and Croissant; Dandruff, Death, and Dictionary ("opinions presented as truth in alphabetical order"); and several hundred others, including Biography ("a respectable form of pornography"), Museum ("safe storage for stolen objects"), and Manners ("people are always splendid when they're dead"). There is much in this volume that will stimulate, offend, provoke, perplex, and entertain. But Saul deploys these tactics of guerilla lexicography to advance the more serious purpose of reclaiming public language from the stultifying dialects of modern expertise.
For more than 200 years the United States and Russia have shared a multi-faceted relationship. Because of the rise of power the two countries enjoyed in the late 19th and through the 20th century, Russian-American relations have dominated much of recent world history. Prior to World War II the two countries had relatively friendly contacts in culture, commerce, and diplomacy, however, as they contested for supremacy during the Cold War relations turned hostile and competitive. With the apparent end of the Cold War with the collapse of the Soviet Union and of communism in 1991, the relationship continues to evolve and the future looks uncertain but promising. The Historical Dictionary of United States-Russian/Soviet Relations identifies the key issues, individuals, and events in the history of U.S.-Russian/Soviet relations and places them in the context of the complex and dynamic regional strategic, political, and economic processes that have fashioned the American relationship with Russia. This is done through a chronology, a bibliography, an introductory essay, and several hundred cross-referenced dictionary entries on key persons, places, events, institutions, and organizations.
A widely respected commentator on South African affairs offers an important analysis of revolution and counter-revolution in the countries of Southern Africa today. Saul's previous works on Africa include Socialist Ideology and t he Struggle for Southern Africa and The Two-Edged Sword: The Struggle for Liberation in Namibia and Its Legacy (with Colin Leys).
In Interrogations of Evolutionism in German Literature 1859-2011 Nicholas Saul offers the first representative account of German literary responses to Darwinian evolutionism from from Raabe and Jensen via Ernst Jünger and Botho Strauß to Dietmar Dath.
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