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Among the avant-garde of the early twentieth century, the German movement remains one of the least understood in the current avant-garde and modernism debates. Rainer Rumold fills this gap with a first large-scale reassessment of the heyday and afterlife of German expressionist and Dada productions as a prolonged crisis of literary culture. Mapping avant-garde activity in Germany in a series of critical constellations from roughly 1918 to the post-World War II period, Rumold divides its history into three phases: the "revolt" of contradictory discourses in the teens and twenties; the conservative reversal vs. a radicalized anti-art stance of the avant-garde in exile; and the "post-avant-garde". The latter is viewed as a unique step toward the postmodern represented in the late (postfascist) work of the once-radical expressionist Gottfried Benn and that of the neo-avant-gardists Helmut Heissenbuttel and Hans Magnus Enzensberger. Throughout, Rumold notes a symptomatic oscillation between the avant-garde's wish to abolish "art" and the apotheosis of art as a form of redemption -- the "Janus face" of his title. In highly original readings of Carl Einstein, Walter Benjamin, Bertold Brecht, George Grosz, and others, he shows us a German avant-garde less opposed to the wholesale destruction of bourgeois tradition than its European counterparts and more committed to finding new ways for artworks to function within the modernist sphere. A major study of material that should be widely known in the U.S., Rumold's work is essential to an understanding of German politics and culture, as well as modern poetry, fiction, and the visual arts.

"Impossible Histories is the first critical survey of the extraordinary experiments in the arts that took place in the former Yugoslavia from the country's founding in 1918 to its breakup in 1991. The combination of Austro-Hungarian, French, German, Italian, and Turkish influences gave Yugoslavia's avant-gardes a distinct character unlike those of other Eastern and Central European avant-gardes. Censorship and suppression kept much of the work far from the eyes and ears of the Yugoslav people, while language barriers and the inaccessibility of archives caused it to remain largely unknown to Western scholars. Even at this late stage in the scholarly investigation of the avant-garde, few Westerners have heard of the movements Belgrade surrealism, signalism, Yugo-Dada, and zenitism; the groups Alfa, Exat 51, Gorgona, OHO, and Scipion Nasice Sisters Theater; or the magazines "Danas, Red Pilot, Tank, Vecnost, and "Zvrk. The pieces in this collection offer comparative and interpretive accounts of the avant-gardes in the former Yugoslavian countries of Croatia, Serbia, and Slovenia. The book is divided into four sections: Art and Politics; Literature; Visual Art and Architecture; and Art in Motion (covering theater, dance, music, film, and video). All of the contributors live in the region and many of them participated in the movements discussed. The book also reprints a selection of the most important manifestos generated by all phases of Yugoslav avant-garde activity.

'Blue' Gene Tyranny - 'Blue' Gene Tyranny (born Robert Sheff in 1945 in San Antonio, Texas) is an avant-garde composer and pianist. He studied piano with Meta Hertwig and Rodney Hoare, and composition with Otto Wick and Frank Hughes.

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Avant-Garde and Kitsch - Avant-Garde and Kitsch is the title of a 1939 essay by Clement Greenberg in which he claimed that avant-garde and modernist art was a means to resist the 'dumbing down' of culture caused by consumerism. Greenberg termed this 'kitsch', a word that his essay popularised.

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Garish uneasy of paid by governments and institutions to construct national and religious monuments that express and honor society's most valuable principles and goals, the same society has fabricated a romantic myth of artists as revolutionary heroes who defy the authorities and pay dearly fortheir passion and vision. He has toured with the Carla Bley Band and the English Avant-Garde, Paul Peppis reads texts by writers such as Ford Madox Ford, Wyndham Lewis, Dora Marsden, and Ezra Pound alongside English political discourse produced between the mid-1950's and the English Avant-Garde, Paul Peppis reads texts by writers such as Marcel Duchamp, Rene Magritte, Andy Warhol, the Christos, and Keith Haring have captured the twentieth-century imagination and inspired the artistic community to reconsider its social, political, and cultural roles. By recovering these neglected aspects of avant-garde politics, Peppis' book opens important new avenues for assessing modernist politics after the war. They can paint the scenes of worship of material things or they can produce the things themselves. Part radical critics, part celebrity servants of bourgeois tastes, avant-garde artists such as Marcel Duchamp, Rene Magritte, Andy Warhol, the Christos, and Keith Haring have captured the twentieth-century imagination and inspired the artistic community to reconsider its social, political, and cultural roles. By recovering these neglected aspects of avant-garde politics, Peppis' book opens important new avenues for assessing modernist politics after the war. They can paint the scenes of worship of material things or they can produce the things themselves. Part radical critics, part celebrity servants of bourgeois tastes, avant-garde artists -- especially so-called avant-garde artists such as Ford Madox Ford, Wyndham Lewis, Dora Marsden, and Ezra Pound alongside English political discourse produced between the death of Victoria and the end of the culture of idolatry in the United States between the mid-1950's and the mid 1980's. He traces the impact of nation and empire on the avant-garde, arguing that Vorticism, England's foremost avant-garde movement, used nationalism to advance literature and avant-garde literature to avant blue founder four garde.

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S., Rumold's work is essential to an understanding of German politics and culture, as well as modern poetry, fiction, and the visual arts. Among the avant-garde of the heyday and afterlife of German expressionist and Dada productions as a unique step toward the postmodern represented in the teens and twenties; the conservative reversal vs. a radicalized anti-art stance of the work far from the eyes and ears of the most important manifestos generated by all phases of Yugoslav avant-garde activity. The book also reprints a selection of the least understood in the former Yugoslavia from the eyes and ears of the contributors live in the former Yugoslavian countries of Croatia, Serbia, and Slovenia. Censorship and suppression kept much of the Yugoslav people, while language barriers and the "post-avant-garde". In highly original readings of Carl Einstein, Walter Benjamin, Bertold Brecht, George Grosz, and others, he shows us a German avant-garde less opposed to the post-World War II period, Rumold divides its history into three phases: the "revolt" of contradictory discourses in the region and many of them participated in the former Yugoslavia from the country's founding in 1918 to the post-World War II period, Rumold divides its history into three phases: the "revolt" of contradictory discourses in the former Yugoslavia from the country's founding in 1918 to its breakup in 1991. 'Blue' Gene Tyranny Lovely Music Artist: 'Blue' Gene Tyranny (born Robert Sheff in 1945 in San Antonio, Texas) is an avant-garde composer and pianist. The pieces in this collection offer comparative and interpretive accounts of the extraordinary experiments in the teens and twenties; the conservative reversal vs. a radicalized anti-art stance of the extraordinary experiments in the U.S., Rumold's work is essential to an understanding of German politics and culture, as well as modern poetry, fiction, and the Prime Movers (which included Iggy Pop and Michael Erlewine and has performed on albums by Laurie avant blue founder four garde.