What has led so many of us relatively independently of one another to start thinking about the PMC as a class formation in the first place? My sense is that it has to do with a combination of factors we’ve all been confronting and trying to reckon with concerning 1) tendencies and tensions within what seems to be taking shape as a popular left in the US and UK, 2) the fragility of left-led governments that have been elected in places like Greece and various South American states, 3) how to make sense of and respond to the tide of authoritarian neoliberalism around the world, which I suspect most of us understand as no aberration but an organic outgrowth of several decades of neoliberal hegemony, which in both its “left”-technocratic and right poles rejects and has sought to seal off options for popular politics of any sort and 4) the utter bankruptcy under those conditions of social-democratic parties nearly everywhere.
A Federal Art Project mural cycle of thirteen panels devised and painted by Victor Arnautoff in 1936 in a San Francisco high school portrays George Washington as a slave owner and as the author of Native-American genocide. It is an important work of art, produced for all Americans under the auspices of a federal government seeking to ensure the survival of art during the Great Depression. Its meaning and commitments are not in dispute. It exposes and denounces in pictorial form the U.S. history of racism and colonialism. The only viewers who should feel unsafe before this mural are racists.
Our little group of papers, however, is more directed toward what it still makes sense to call the ultraleft: from those who think that Sanders should never have run as a Democrat to those who, disdaining electoral politics, don’t care who runs as what, from those who think that socialism is insufficiently attentive to the particularities of a universe of paramecially fissioning identities to those who sign up for TIDAL under the impression that corporate mass culture is revolutionary popular culture.
B-Side Modernism is almost here. For more information click on the image below or visit our events page. The idea behind “B-Side Modernism” is to consider the work of 20th century poets and artists whose meaning and value have yet to be fully realized. The Raymond Danowski Poetry Library at Emory University is an amazing resource; more than any other collection, it represents the richness and diversity of English language poetry in the 20th century and beyond. For nonsite.org, the collection – and the Mellon Foundation’s support of this project – presents a fantastic opportunity, not just to support new scholarly work, but to open up a major archive to meaningful public conversation.
In June of 2014, nonsite.org, with the support of the Andrew W. Mellon Foundation, sponsored four fellows to do research in the Raymond Danowski Poetry Library at Emory University. Danowski’s synoptic ambition—to collect literally all poetry in English published in the 20th century, including the independent journals, short-run chapbooks and broadsides that gave modernism its distinctive energy—has created an opportunity to examine the materials out of which our accounts of the century have been made, without the influence of a shaping hand. The work of our B-Side Fellows, presented here, takes the shapelessness of “everything” as a provocation to investigate the divergences between canonical accounts of modernism in poetry; to explore the many roads not taken, whether they manifest in the unedited arc of a career, in the one-off achievement, or the unclassified ephemera of a moment. What else might modernism have been? And how do such reconsiderations of modernism bear on what happens on the flip side of the mid-century divide? Edited by Jennifer Ashton and Oren Izenberg
Nonsite’s conference on Photography and Philosophy is just a few months away. Our submission deadline is November 15th. For more information on how to be involved, click on the image below or see our Events page.
In this issue, nonsite features new work on 19th-century French art and visual culture, from telegraphy to lithography, Orientalists to Post-Impressionists, Manet to Degas. Edited by Bridget Alsdorf.
In nonsite’s thirteenth issue, we turn to the contemporary relationship between literature and politics in Latin America today. Edited by Eugenio Di Stefano and Emilio Sauri.
In nonsite’s 12th issue, a collection of views on the meaning and uses of postcolonial theory in and around modern Poland, plus photography and ’sixties Paris and a feature essay on Thomas Piketty’s celebrated Capital in the Twenty-First Century.