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Beyond Guernica and the Guggenheim Beyond Guernica and the Guggenheim Beyond Art and Politics from a Comparative Perspective a Comparative from Art and Politics Beyond Guernica and the Guggenheim This book brings together experts from different fields of study, including sociology, anthropology, art history Art and Politics from a Comparative Perspective and art criticism to share their research and direct experience on the topic of art and politics. How art and politics relate with each other can be studied from numerous perspectives and standpoints. The book is structured according to three main themes: Part 1, on Valuing Art, broadly concerns the question of who, how and what value is given to art, and how this may change over time and circumstance, depending on the social and political situation and motivation of different interest groups. Part 2, on Artistic Political Engagement, reflects on another dimension of art and politics, that of how artists may be intentionally engaged with politics, either via their social and political status and/or through the kind of art they produce and how they frame it in terms of meaning. Part 3, on Exhibitions and Curating, focuses on yet another aspect of the relationship between art and politics: what gets exhibited, why, how, and with what political significance or consequence. A main focus is on the politics of art in the Basque Country, complemented by case studies and reflections from other parts of the world, both in the past and today. This book is unique by gathering a rich variety of different viewpoints and experiences, with artists, curators, art historians, sociologists and anthropologists talking to each other with sometimes quite different epistemological bases and methodological approaches. Edited by Zoe Bray Zoe Center for Basque Studies University of Nevada, Reno ISBN 978-1-935709-56-5 USD$24.00 Edited by Zoe Bray Conference Papers Series No. 10 Beyond Guernica and the Guggenheim Art and Politics from a Comparative Perspective Edited by Zoe Bray Center for Basque Studies University of Nevada Reno This book was published with generous financial assistance from the Basque government Conference Papers Series, no. 9 Series editor: Joseba Zulaika Center for Basque Studies University of Nevada, Reno Reno, NV 89557 basque.unr.edu Copyright © 2015 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover illustration: Autonomia, 2008, lacerated posters on board, by Josette Dacosta. Courtesy of the artist. _____________________________________ Library of Congress Cataloging-in-Publication Data Beyond Guernica and the Guggenheim (Conference) (2013 : Uni- versity of Nevada, Reno) Beyond Guernica and the Guggenheim : art and politics from a comparative perspective / Edited by Zoe Bray. pages cm. -- (The Center for Basque studies conference papers series ; No. 10) Summary: “Art and politics are viewed from a comparative per- spective in this book that goes from the Picasso’s Guernica to the modern Bilbao Guggenheim”-- Provided by publisher. ISBN 978-1-935709-56-5 (pbk.) 1. Art--Political aspects--Congresses. 2. Art--Political aspects- -France--Pays Basque--Congresses. 3. Art--Political aspects-- Spain--Pa?s Vasco--Congresses. I. Bray, Zoe, 1974- editor. II. University of Nevada, Reno. Center for Basque Studies. III. Title. N72.P6B49 2013 701’.03--dc23 2014032386 Contents Introduction Art, Politics, and Identity 1 Zoe Bray Part 1: Valuing Art 19 1. Guernica and the Bond between Art and 21 Politics According to a Sociology of Values Nathalie Heinich 2. “Worlds of Art” in the Basque Country: 31 The Aranzazu Period J. Arpal Poblador 3. Revolutionary Artistic Sacrifice 47 versus Totalitarian Artistic Entertainment Juan Arana 4. Art and Basque Artists: 65 The Guggenheim Years Adelina Moya Valgañón 5. The Site for Controversy: 81 The Case of 1980s New Basque Sculpture, from Roots to Rhizomes Txomin Badiola 6. The Transmission of Values in Basque 99 Art throughout the Twentieth Century Ismael Manterola 7. The Politics of Art in the Rural Inland 111 of the French Basque Country: The Case of the Cultural Association Haize Berri Zoe Bray Part 2: Artistic Political Engagement 133 8. An alle Künstler!: The Politics of Place 135 in Max Pechstein’s Images of Palau Brett M. Van Hoesen 9. Vive l’Art Révolution: Gérard Fromanger 155 and the Revolutionary Discourse in Painting Catherine Dossin 10. Anti-Espaliú: From Model Figure to 173 Intertext (or, Toward a Larger Cartography of AIDS Politics in the Basque Country and Spain) Aimar Arriola 11. On Art Practices, Feminism, and 193 Gender in the Basque Context Azucena Vieites 12. Engagement and Commitment 207 Peter Selz 13. Art and Telos: Aesthetics, 217 Politics, and Limited Action Fernando Golvano Part 3: Exhibitions and Curating 233 14. Denouncing Violence against Women: An 235 Experimental Seminar and Poster Art Exhibition Selma Holo 15. Reflections on a Feminist Model for 253 the Field of Art: Montehermoso, 2008–2011 Xabier Arakistain 16. “‘Newtopia:’ Artists Address Human Rights” 265 Susan Noyes Platt Index 283 About the Contributors 305 Introduction Art, Politics, and Identity Zoe Bray Politics is about the struggle of human beings for different kinds of power.1 Power comes in a myriad of different forms, as influence, control, domination, or violence.2 These can be expressed and ex- erted physically, directly, indirectly, and symbolically. The French philosopher Michel Foucault reminds us that what we take to be reality is itself a construct of power.3 In coming into being, a reality stifles others and legitimizes itself. And at the same time, thanks to relations of power, this reality facilitates other power relationships that reinforce it. The assumption of this book is that art is part and parcel of this process. The works of Foucault and of French sociologist Pierre Bourdieu help us understand how art is given social and political significance, and can be controlled and/or controlling.4 Defining something as art, for example, is an act of politics, in that ‘art’ as- signs a value to a ‘thing’ while it at the same time excludes other things from attaining this value. Whatever this art may be, it is pro- duced and acquires significance in context. Those who create things considered art do so in social, cultural, and political situations that influence them both consciously and unconsciously, directly and in- 1. See also Lewellen, Political Anthropology: An Introduction; Kurtz, Political Anthropology: Power and Paradigms, 175. 2. Lukes, Power: A Radical View. 3. Foucault, “The Subject and Power,” in Michel Foucault: Beyond Structuralism and Hermeneutics, ed. Dreyfus and Rabinow. 208-226. 4. Bourdieu, Distinction: A Social Critique of the Judgement of Taste. 2 Beyond Guernica and the Guggenheim directly. And their audiences perceive the work in context, too, also processing them wittingly or unwittingly according to social and cultural norms and the direct and indirect power relationships en- shrined in them. Through their work, artists may wish to communi- cate something that has deliberate political aims. In some situations, however, the artwork or the artist may be appreciated or politicized in a way not intended by the artist. Artists may also play specific roles in society. They may be dil- ettantes, provocateurs, harbingers of change, ambassadors, critics, or representatives. These roles may be self-assigned, or assigned to them by other people. Such roles may be welcomed by the artists, or they may be roles played in spite of themselves, despite some artists’ desire for privacy and a discreet profile, or aspiration to neutrality.5 Artists may also be fetishized, glorified, or used as scapegoats. Or they may be simply ignored. And the reason may not simply be be- cause their work is ‘bad’ or ‘mediocre’ or ‘uninteresting’, whatever that may mean in a particular context. As British social anthropolo- gist Jeremy MacClancy points out, “the question ‘But is it art?’ is not a hoary chestnut to be ignored but a politically-motivated interrog- atory to be studied.”6 Indeed, art is the site of contestations in which different people place meaning and values that are themselves so- cially and politically related. While the assumption underlying this book is that art is politics, its aim is to inquire into how people play this out. Since works of art deal with aspects of the reality(ies) upheld in the social context in which it is created, they also essentially embody that social context’s power relationships.7 This is true irrespective of whether the artist is critical toward or affirmative of the prevail- ing power relationships—or, as often is the case, critical toward a certain constellation of power relationships while affirming another one. So, to different degrees, every work of art reflects and encodes power relationships, irrespective of whether that was the intention of its creator. But interpretation of art is also wrought with power relations. Art history, for instance, is itself based on certain philosophical and epistemological assumptions. Art historians have traditionally stud- ied the way form and content convey aesthetic meaning. However, 5. See for example Bray, “Sculptures of Discord: Public Art and the Politics of Commemoration in the Basque Country.” 6. MacClancy, “Anthropology, Art and Contest,” in Contesting Art: Art, Politics and Identity in the Modern World, ed. MacClancy, 4. 7. See also Day, Power: Its Myths and Mores in American Art, 1961-1991. Art, Politics, and Identity 3 meaning that is assigned to form
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