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Clth, 9.5 x 12 in. / 312 pgs / 344 color. PUBLISHING STATUS
Pub Date 6/23/2020
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ISBN 9781633451087 TRADE
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| | | Engineer, Agitator, Constructor: The Artist Reinvented1918–1938Edited by Jodi Hauptman, Adrian Sudhalter. Text by Jenny Anger, Barbora Bartunkova, Barry Bergdoll, Benjamin Buchloh, Jane Cavalier, Masha Chlenova, Jean-Louis Cohen, Olivia Crough, Lee Ann Daffner, Noam Elcott, Katie Farris, Devin Fore, Maria Gough, Ilya Kaminsky, William Kentridge, Christina Kiaer, Juliet Kinchin, Iva Knobloch, Juliet Koss, Megan Luke, Ellen Lupton, Erika Mosier, Chris McGlinchey, Laura Neufeld, Libby Otto, Kristin Romberg, Jeffrey Schnapp, Martino Stierli, Jenny Tobias, Robert Wiesenberger, Andrés Zervigón.
 How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world “We regarded ourselves as engineers, we maintained that we were building things … we put our works together like fitters.” So declared the artist Hannah Höch, describing a radically new approach to artmaking in the 1920s and ’30s. Such wholesale reinvention of the role of the artist and the functions of art took place in lockstep with that era’s shifts in industry, technology, and labor, and amid the profound impact of momentous events: World War I, the Russian Revolution, the collapse of the Austro-Hungarian Empire and the rise of fascism. Highlighting figures such as Aleksandr Rodchenko, Liubov Popova, John Heartfield and Fré Cohen, and European avant-gardes of the interwar years—Dada, the Bauhaus, futurism, constructivism and de Stijl—Engineer, Agitator, Constructor: The Artist Reinvented demonstrates the ways in which artists reimagined their roles to create a dynamic art for a new world.
These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, architects, theater designers and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work.
Published in conjunction with a major exhibition, Engineer, Agitator, Constructor marks the transformative addition to MoMA from the Merrill C. Berman Collection, one of the great private collections of political art. Illuminating the essential role of women in avant-garde activities while mapping vital networks across Europe, this richly illustrated book presents the social engagement, fearless experimentation and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today.
Featured image is reproduced from 'Engineer, Agitator, Constructor: The Artist Reinvented.'PRAISE AND REVIEWSARLIS/NA Reviews Barbara Ann Opar Stunning rarely seen images and a well-constructed text about known and lesser known artists and works of the early twentieth-century avant-garde help shape this exhibition catalog [... ]the overall book manages to convey a cohesive picture of the collection, movements, and artists represented ...made art for a changing world through activism, agitation, propaganda, use of technological innovations, advertising, and marketing. Architectural Record Looks at the reinvention of the role of the artist and the functions of art that took place in tandem with historical shifts in industry, technology. and labor amidst the impact of World War I... Wall Street Journal Karen Wilkin Engineer, Agitator, Constructor: The Artist Reinvented, at the Museum of Modern Art, explores the ways, in the 1920s and ’30s, adventurous art was put into the service of politics and social change in Soviet Russia, the Netherlands, Germany, Italy and elsewhere in Europe. New York Times Rachel Saltz Superabundant and full of eye-opening creative churn. New Yorker Peter Schjeldahl The scope is encyclopedic, surveying a time when individuals sacrificed their artistic independence to ideological programs of mass appeal [...]That needn't constitute a failure. It may be a clear-eyed choice made on principle. |
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| | | FORTHCOMING AND NEW: ART |  | Text by Tobia Bezzola, Vincenzo de BellisMOUSSE PUBLISHINGISBN: 9788867493418
USD $33.00 | CAN $45Pub Date: 2/19/2019
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|  | By Jeffrey T. Schnapp.SKIRAISBN: 9788857201757
USD $39.00 | CAN $50Pub Date: 9/8/2009
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|  | By Luca Massimo Barbero.SKIRAISBN: 9788876247446
USD $65.00 | CAN $85Pub Date: 9/5/2006
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|  | By Bonnie Clearwater.SKIRAISBN: 9788857234793
USD $37.50 | CAN $47.5Pub Date: 10/3/2017
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|  | Edited by Germano Celant.SKIRAISBN: 9788857222493
USD $55.00 | CAN $70Pub Date: 1/10/2017
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|  | Edited by Hanne Tyrmi. Text by Line Ulekleiv, Lotte Konow Lund, Tone Lyngstad Nyaas.SKIRAISBN: 9788857222615
USD $55.00 | CAN $70Pub Date: 3/10/2015
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|  | By John Paul Stonard.RIDINGHOUSEISBN: 9781905464029
USD $59.95 | CAN $75Pub Date: 9/3/2007
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USD $59.95 | CAN $75Pub Date: 2/1/2009
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USD $32.00 | CAN $45Pub Date: 6/1/2016
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|  | Text by Martin Bethenod, Florian Ebner.MARSILIO EDITORIISBN: 9788831729048
USD $49.95 | CAN $67.5 UK £ 44.99Pub Date: 9/4/2018
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|  | Edited by Luca Massimo Barbero.MARSILIO EDITORIISBN: 9788831729567
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|  | Text by Luca Massimo Barbero.MARSILIO EDITORIISBN: 9788831723824
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FORMAT: Clth, 9.5 x 12 in. / 312 pgs / 344 color.
LIST PRICE: U.S. $75.00
LIST PRICE: CANADA $108
ISBN: 9781633451087
PUBLISHER: The Museum of Modern Art, New York
AVAILABLE: 6/23/2020
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
TERRITORY: NA ONLY | D.A.P. CATALOG: SPRING 2020 Page 66 | INFO AS OF: May 14, 2019 | PRESS INQUIRIES
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| Engineer, Agitator, Constructor: The Artist Reinvented
1918–1938 How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world Published by The Museum of Modern Art, New York.
Edited by Jodi Hauptman, Adrian Sudhalter. Text by Jenny Anger, Barbora Bartunkova, Barry Bergdoll, Benjamin Buchloh, Jane Cavalier, Masha Chlenova, Jean-Louis Cohen, Olivia Crough, Lee Ann Daffner, Noam Elcott, Katie Farris, Devin Fore, Maria Gough, Ilya Kaminsky, William Kentridge, Christina Kiaer, Juliet Kinchin, Iva Knobloch, Juliet Koss, Megan Luke, Ellen Lupton, Erika Mosier, Chris McGlinchey, Laura Neufeld, Libby Otto, Kristin Romberg, Jeffrey Schnapp, Martino Stierli, Jenny Tobias, Robert Wiesenberger, Andrés Zervigón. | “We regarded ourselves as engineers, we maintained that we were building things … we put our works together like fitters.” So declared the artist Hannah Höch, describing a radically new approach to artmaking in the 1920s and ’30s. Such wholesale reinvention of the role of the artist and the functions of art took place in lockstep with that era’s shifts in industry, technology, and labor, and amid the profound impact of momentous events: World War I, the Russian Revolution, the collapse of the Austro-Hungarian Empire and the rise of fascism. Highlighting figures such as Aleksandr Rodchenko, Liubov Popova, John Heartfield and Fré Cohen, and European avant-gardes of the interwar years—Dada, the Bauhaus, futurism, constructivism and de Stijl—Engineer, Agitator, Constructor: The Artist Reinvented demonstrates the ways in which artists reimagined their roles to create a dynamic art for a new world.
These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, architects, theater designers and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work.
Published in conjunction with a major exhibition, Engineer, Agitator, Constructor marks the transformative addition to MoMA from the Merrill C. Berman Collection, one of the great private collections of political art. Illuminating the essential role of women in avant-garde activities while mapping vital networks across Europe, this richly illustrated book presents the social engagement, fearless experimentation and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today.
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