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Notes
1. T. J. Clark and Donald Nicholson-Smith, “Why Art Can't Kill the Situationist International,” October, no. 79 (1997): 15–31.
2. David Craven, review of Marxism and the History of Art: From William Morris to the New Left, ed. Andrew Hemingway, Art Bulletin 95, no. 2 (2008): 303.
3. Ibid.
4. Ibid., 304.
5. Andrew Hemingway, introduction to Marxism and the History of Art: From William Morris to the New Left, ed. Hemingway (London: Pluto Press, 2006), 3.
6. Ibid.
7. Richard W. Hill Sr. “Whither Art History? The Fine Art of Being Indigenous,” Art Bulletin 97, no. 1 (2015): 7–9.
8. Similarly, the editors have no regard for “the likes of” Herbert Read, Jacques Derrida, Michel Foucault, or Jacques Lacan. See Warren Carter, introduction to Renew Marxist Art History, pp. 17, 23.
9. See Theodor Adorno, “Reconciliation under Duress,” in Aesthetics and Politics, ed. Ronald Taylor (London: Verso, 1980), 151–76.
10. Carter's opening statement—“Meyer Schapiro's work has had a greater impact upon the development of radical art history in the Anglophone world than that of any other Marxist art historian”—seems outdated; arguably, the work of T. J. Clark has proved far more influential.
11. On Kent's anarchism in light of his support for the IWW and opposition to the United States government's mass mobilization of the American populace during World War I, see Allan Antliff, “Nietzschean Matrix,” in Anarchist Modernism: Art, Politics and the First American Avant-Garde (Chicago: University of Chicago Press, 2001), chap. 7.
12. For more on the politics of representation, see Jess Cohn, Anarchism and the Crisis of Representation: Hermeneutics, Aesthetics, Politics (Selinsgrove, Pa.: Susquehanna University Press, 2006).
13. Day describes the protagonists in Sekula's slide-show sequence of activists at the anti–World Trade Organization demonstrations in Seattle, Waiting for Tear Gas (White Globe to Black), as “protestors and syndicalists” (p. 487).
This characterization strikes me as calculated to elide the Direct Action Network's leading role in grassroots mobilizing for the convergence and the anarchist modes of protest—decentralized blockades, affinity groups, and so forth—that made it so successful. For a critique of such misrepresentations (and the uses to which they are put), see David Solnit and Rebecca Solnit, eds., The Battle of the Story of the Battle of Seattle (Oakland, Calif.: AK Press, 2009). Other firsthand accounts of the protests can be accessed in Notes from Nowhere, eds., We Are Everywhere: The Irresistible Rise of Global Capitalism (London: Verso, 2003). Protest participants also produced an on-the-spot documentary, Breaking the Spell (1999), http://www.crimethinc.com/movies/bts.html.14 Anonymous, “A Howl against Marx,” Attendat, no. 1 (2013): 56.
15 Allan Antliff, “Anarchism and Art History: Methodologies of Insurrection,” in The Continuum Companion to Anarchism, ed. Ruth Kinna (London: Continuum Press, 2012), 72–85.
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Allan Antliff
ALLAN ANTLIFF is associate professor in the Department of Art History and Visual Studies at the University of Victoria [Department of Art History and Visual Studies, University of Victoria, 3800 Finnerty Road, Fine Arts Building, Victoria, B.C., V8P 5C2, Canada].