The February 1848 Revolution in Paris provoked the formation of the Second Republic before being violently suppressed a few months later. The 1871 Commune, where working class Parisians forcibly took over and administered sections of the city to petition for improved wages, education, and living conditions, was a large-scale experiment in establishing an alternative society. The violence was even worse on this occasion, with the actions of the Adolphe Thiers’ government, representing the wealthy upper and middle class, leading to a death toll of as many as 30,000. Among the republican communards were such notable anarchists as Auguste Blanqui and Louise Michel.
Unrepentant revolutionary statements made by Michel at her trial make for compelling reading today, given the incidents of racial intolerance and social division that have been relentlessly fueled by irresponsible, opportunist politicians these past 12 months. Black Bloc, the anarchist inheritors of the agitational politics of Blanqui and Michel, are only the most visible of many emerging movements of protest in the wake of recent events.
During their brief 1848 uprising the revolutionaries produced hundreds of posters and manifestos that were flyposted to building walls. Remarkably, these were collected a few years after the fall of the Commune and published in facsimile as Les Murailles Révolutionnaires (1851). This watercolor, Citoyens, reproduces a detail from one of those posters.
To get a good idea of the circumstances behind these events, check out Peter Watkins’ extraordinary six-hour film La Commune (Paris 1871), an experiment in historical research and script development through group improvisational acting.
Musician and activist Charles Murrell said he was assaulted by members of Patriot Front on his way to work.
“Nana Harriet risked life and limb to be free so that no one White person would benefit off her person. And now we have someone white benefiting off of her,” said artist Maisha Sullivan-Ongoza.
This destination for modern and contemporary art showcases the vibrant arts community of the Pacific Northwest alongside galleries from around the world, open July 21 through 24.
As the global consensus on restitution passes the tipping point, some skepticism towards these sudden, improbable Damascene conversions towards restitution is probably justified.
The Renaissance master was boundlessly ambitious and intimidatingly energetic, charming, good-looking, diplomatic, and utterly opportunistic.
Part of a media project by Dr. Imani M. Cheers, Framing Fatherhood is on view at the George Washington University’s Corcoran School of the Arts and Design in DC through July 31.
Zadie Xa’s quilted textiles and Hernan Bas’s paintings of adolescent men enjoy a surprising but generative dialogue at San Francisco’s Jessica Silverman gallery.
While Koons may be a man on the moon, he’s looking back at Earth, oblivious to the vastness behind him, if only he would turn around.
International audiences have free access to the media collections of MMCA Korea, Sharjah Art Foundation, and ArkDes through this subscription-based art streaming platform.
Croatian filmmaker Antoneta Alamat Kusijanović’s debut feature accurately captures a certain kind of Balkan machismo.
The Getty Foundation announced late last week a new pilot program for emerging arts professionals from historically underrepresented groups, funding two-year positions at 10 Los Angeles arts institutions. The Getty Marrow Emerging Professionals pilot program — named after Deborah Marrow, the former Getty Foundation director who spearheaded an undergraduate internship initiative at the organization —…
Contemporary artist studios in Karachi prioritize pragmatism; many resist a traditional understanding of spaces with singular purposes.