THROUGHOUT THE TWENTIETH CENTURY, modern and contemporary art in the West sought either to cheat history or to travesty it. To cheat history is to outrun it in gestures aimed at utopian schemes (as envisioned by Suprematism or the artists of De Stijl) or dystopian destruction (as in Futurism or some variants of Dada). Among modernist avant-gardes, history offered a necessary dialectical framework for its own supersession this is why the rhetoric of revolution remains so appealing and ubiquitous in accounts of modern art. Paradoxically, this legacy has been codified or canonized (and certainly
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Holy Science: The Biopolitics of Hindu Nationalism by Banu Subramaniam, University of Washington Press, Orient Blackswan, 2019; pp xv + 290, $95, `945 (hardcover).
When children gnaw on dirt pursing stones under their tongues parental hands open their mouth cavities from above – It is all a horror story for the dirt eaters.