We’ll Always Have Paris

We’ll Always Have Paris Book Reviews 2. See Martha Rosler, Decoys and Disruptions: Selected Writings, 1975–2001 Paris may not have been the site where modernity happened first, (Cambridge, MA: MIT Press, 2004); and Allan Sekula, Photography Against the and certainly neither exclusively nor monolithically, but it does Grain: Essays and Photoworks, 1973–1983 (Nova Scotia: The Press of the Nova stand apart as the place where ‘being modern’ demanded the most Scotia College of Art and Design, 1984). urgent and immediate critical intervention, the most direct 3. Jo Spence and Terry Dennett (eds), Photography/Politics: One (London: cultural and intellectual articulations, in both word and image ... Photography Workshop, 1979). Also see, Patricia Holland, Jo Spence, and Simon Paris appears less as a concrete place than a phantasm, a feverish Watney, Photography/Politics: Two (London, Comedia Publishing Group: 1986). dream, where the experience of modernity demanded the most 4. Tom Keenan, ‘Mobilizing Shame’, South Atlantic Quarterly vol. 103/no. 2–3 fervent and prompt reflection, transformation, and (spring/summer 2004), pp. 235–49. aestheticization. (p. 14) 5. Louis-George Schwartz, ‘In Plain View’, Artforum vol. 54/no. 10 (summer 2016), pp. 367. At the outset, then, they admit that ‘there was never simply one Parisian modernity, never one Parisian modernism; there doi:10.1093/oxartj/kcx021 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oxford Art Journal Oxford University Press

We’ll Always Have Paris

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Publisher
Oxford University Press
Copyright
© The Author 2017. Published by Oxford University Press; all rights reserved
ISSN
0142-6540
eISSN
1741-7287
D.O.I.
10.1093/oxartj/kcx016
Publisher site
See Article on Publisher Site

Abstract

Book Reviews 2. See Martha Rosler, Decoys and Disruptions: Selected Writings, 1975–2001 Paris may not have been the site where modernity happened first, (Cambridge, MA: MIT Press, 2004); and Allan Sekula, Photography Against the and certainly neither exclusively nor monolithically, but it does Grain: Essays and Photoworks, 1973–1983 (Nova Scotia: The Press of the Nova stand apart as the place where ‘being modern’ demanded the most Scotia College of Art and Design, 1984). urgent and immediate critical intervention, the most direct 3. Jo Spence and Terry Dennett (eds), Photography/Politics: One (London: cultural and intellectual articulations, in both word and image ... Photography Workshop, 1979). Also see, Patricia Holland, Jo Spence, and Simon Paris appears less as a concrete place than a phantasm, a feverish Watney, Photography/Politics: Two (London, Comedia Publishing Group: 1986). dream, where the experience of modernity demanded the most 4. Tom Keenan, ‘Mobilizing Shame’, South Atlantic Quarterly vol. 103/no. 2–3 fervent and prompt reflection, transformation, and (spring/summer 2004), pp. 235–49. aestheticization. (p. 14) 5. Louis-George Schwartz, ‘In Plain View’, Artforum vol. 54/no. 10 (summer 2016), pp. 367. At the outset, then, they admit that ‘there was never simply one Parisian modernity, never one Parisian modernism; there doi:10.1093/oxartj/kcx021

Journal

Oxford Art JournalOxford University Press

Published: Aug 1, 2017

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