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One of the powers of art is its ability to convey the human aspects of political events. In this fascinating survey on art, artists, and anarchism, Allan Antliff interrogates critical moments when anarchist artists have confronted pivotal events over the past 140 years. The survey begins with Gustave Courbet's activism during the 1871 Paris Commune (which established the French republic) and ends with anarchist art during the fall of the Soviet empire. Other subjects include the French neoimpressionists, the Dada movement in New York, anarchist art during the Russian Revolution, political art of the 1960s, and gay art and politics post-World War II. Throughout, Antliff vividly explores art's potential as a vehicle for social change and how it can also shape the course of political events, both historic and present-day; it is a book for the politically engaged and art aficionados alike.

Allan Antliff is the author of Anarchist Modernism.

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Often considered to be the seminal art movement of the twentieth century, Cubism initiated a pictorial revolution through its radical approach to image making, invention of the new media of collage and sculptural assemblage, and evolution toward pure abstraction. Scholarly yet accessible, Cubism and Culture reveals these profound formal innovations as integrally related to changes in French society. The authors first examine the movement's origins in primitivism and its engagement with issues of race and colonialism, and then consider the Cubists' responses to anti-Enlightenment philosophies, the relation of Cubist art to the "classical," the role played by gender conceptually and within particular careers and practices, collage and its interplay with cultural themes, and the impact of anarchism, nationalism, and pacifism on Cubism's cultural politics. This comprehensive and fresh examination of Cubism in its wider context—social, cultural, political, scientific, and philosophical—covers the full range of art and artists from the movement's advent in 1908. 182 illustrations, 54 in color.

Among the artists included: Alexander Archipenko
• Maria Blanchard
• Georges Braque
• Robert Delaunay
• Sonia Delaunay
• André Derain
• Marcel Duchamp
• Raymond Duchamp-Villon
• Albert Gleizes
• Juan Gris
• Alice Halicka
• Roger de La Fresnaye
• Marie Laurencin
• Henri Laurens
• Henri Le Fauconnier
• Fernand Léger
• Jacques Lipchitz
• Louis Marcoussis
• Frans Masereel
• Jean Metzinger
• Francis Picabia
• Pablo Picasso.
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Drawing on a wide range of anarchist publications, Only a Beginning is the first comprehensive overview of anarchist theory and practice in North America from 1976 to the present Compiled and edited by Allan Antliff, it documents over a quarter-century of grassroots activism, including protests and gatherings, art exhibitions, street theatre, Internet sites and squats, as well as specific movements such as environmentalism, anti--globalization, feminism, queer rights, indigenous struggles, prisoners' rights and terrorism.

In today's post-9/11 climate, major demonstrations that resist globalization, war-mongering and anti--environmental policies, among others, are becoming more organized and high-profile, while at the same time are subject to increasing resistance and suspicion by politicians and police. But in the muddle of today's political centrism, it seems at times that anarchism is the only real voice passionately speaking out against the ruling class.

Only a Beginning casts light on the rich, diverse and progressive history of these movements, placing them in the context of the era in which they appeared and demonstrating their relevance to modern-day action. Included are the histories of major anarchist journals, as well as essays on specific anarchist practice relevant to activist movements across North America.

Lavishly illustrated with original artwork and photographs, Only a Beginning is one of the most comprehensive collection of writings by anarchists ever assembled.

Allan Antliff is the the author of Anarchist Modernism: Art, Politics and the First American Avant-Garde, has written extensively for the anarchist press, and is currently contributing editor to the Alternative Press Review and art editor of Anarchist Studies.

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At the turn of the century the philosophy of Henri Bergson captivated France, and Bergson's theories of intuition and elan vital influenced artistic and political notions of the supreme individual, the collective consciousness of a class or race, and the esprit of the nation itself. Here Mark Antliff demonstrates how various artists in prewar France positioned themselves and their art in this plurality of political discourse. By interrelating such movements as Futurism, Cubism, and Fauvism, he elucidates the pervasive impact of Bergson on Modernism in Europe, especially in terms of theories of organic form.

Antliff defines the anarcho-individualism of Gino Severini as it relates to the anarcho-syndicalism of other Futurists, and contrasts both to the Puteaux Cubists, who embraced a leftist discourse of Celtic nationalism. All these groups, including the "Rhythmists," an international group of Fauve painters, defined their Bergsonism in reaction to the campaign against Bergson launched by the royalist organization L'Action Franaise. Antliff shows that the organicism central to the Bergsonism of these leftist groups had a postwar legacy in fascist ideologies in France and Italy, and charts the transformation of an anticapitalist critique into the politics of reaction. Thus Antliff relates the Bergsonism of these movements to the larger political culture confronted by the Parisian avant-garde, exposing the volatile relation of art and culture to ideology in prewar France..
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Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism's ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of advocates of fascist aesthetics, including artists, art critics, political activists, and government officials, outside of Germany.

The eight essays in this book investigate the intersection of fascist ideology and aesthetics through a wide range of historical examples. Topics include: theories of cultural regeneration in Italy from the Risorgimento to fascism; the impact of fascism upon the work of such artists and art critics as Ardengo Soffici, Mario Sironi, Valentine de Saint-Point, and Waldemar George; the theories of modernist urbanism developed by Georges Valois's Faisceau; and official sponsorship of painting and the decorative arts in Mussolini's Italy and in Vichy France. The contributors to this volume include Walter Adamson, Matthew Affron, Mark Antliff, Emily Braun, Michèle Cone, Emilio Gentile, Nancy Locke, and Marla Stone..
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Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.

Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”

In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé..
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