The Politics Of Taste

In The Politics of Taste Ana María Reyes examines the works of Colombian artist Beatriz González and Argentine-born art critic, Marta Traba, who championed González's art during Colombia's National Front coalition government (1958–74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While González’s triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised González's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads González's and Traba's complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite's fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia's social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.

The Cultural Politics of Food, Taste, and Identity examines the social, cultural, and political processes that shape the experience of taste. The book positions flavor as involving all the senses, and describes the multiple ways in which taste becomes tied to local, translocal, glocal, and cosmopolitan politics of identity. Global case studies are included from Japan, China, India, Belize, Chile, Guatemala, the United States, France, Italy, Poland and Spain. Chapters examine local responses to industrialized food and the heritage industry, and look at how professional culinary practice has become foundational for local identities. The book also discusses the unfolding construction of “local taste” in the context of sociocultural developments, and addresses how cultural political divides are created between meat consumption and vegetarianism, innovation and tradition, heritage and social class, popular food and authenticity, and street and restaurant food. In addition, contributors discuss how different food products-such as kimchi, quinoa, and Soylent-have entered the international market of industrial and heritage foods, connecting different places and shaping taste and political identities.

From bottle gardens, the bachelor pad and Batman to designer gnomes and monogamy spray, this book uses a diverse range of objects to explore the changing significance of kitsch. With its unique approach to its subject, Kitsch! Cultural Politics and Taste promises to advance debates in cultural studies and sociology around taste, while providing an invaluable introduction for students and interested readers. Kitsch! examines how the idea of kitsch is mobilized – progressively, as bad taste, as camp and as cool – to inform notions of identity and sensibility. Where most studies proceed from the kitsch object, this book takes the moment of aesthetic judgment as its starting point and attempts to identify the ideological work performed by the category itself. The book poses the strongest challenge to those who argue that taste is democratized in contemporary culture, offering ample evidence that judgments of taste have shifted ground rather than relaxed.

A study of three controversies that illuminate the changing cultural role of art exhibition in the nineteenth century From the antebellum era through the Gilded Age, New York City's leading art institutions were lightning rods for conflict. In the decades before the Civil War, art promoters believed that aesthetic taste could foster national unity and assuage urban conflicts; by the 1880s such hopes had faded, and the taste for art assumed more personal connotations associated with consumption and domestic decoration. Art Wars chronicles three protracted public battles that marked this transformation. The first battle began in 1849 and resulted in the downfall of the American Art-Union, the most popular and influential art institution in North America at mid-century. The second erupted in 1880 over the Metropolitan Museum's massive collection of Cypriot antiquities, which had been plundered and sold to its trustees by the man who became the museum's first paid director. The third escalated in the mid-1880s and forced the Metropolitan Museum to open its doors on Sunday—the only day when working people were able to attend. In chronicling these disputes, Rachel N. Klein considers cultural fissures that ran much deeper than the specific complaints that landed protagonists in court. New York's major nineteenth-century art institutions came under intense scrutiny not only because Americans invested them with moral and civic consequences but also because they were part and parcel of explosive processes associated with the rise of industrial capitalism. Elite New Yorkers spearheaded the creation of the Art-Union and the Metropolitan, but those institutions became enmeshed in popular struggles related to slavery, immigration, race, industrial production, and the rights of working people. Art Wars examines popular engagement with New York's art institutions and illuminates the changing cultural role of art exhibition over the course of the nineteenth century.

Have you ever been enchanted by the spoken cadence of an Urdu couplet but wished you could fully understand its nuances? Have you wanted to engage with a ghazal more deeply but were daunted by its mystifying conventions? Are you confused between a qataa and a rubaai, or a musadda and a marsiya? In Urdu Poetry, Raza Mir offers a fresh, quirky and accessible entry point for neophytes seeking to enhance their enjoyment of this vibrant canon—from the poems of legends like Mir Taqi Mir and Mirza Ghalib to the lyrics of contemporary game changers like Javed Akhtar and Gulzar. Raza Mir’s translation not only draws out the zest and pathos of these timeless verses, but also provides pithy insights and colourful trivia that will enable readers to fully embrace this world.

Since the early decades of the eighteenth century, European, and especially British, thinkers were preoccupied with questions of taste. Whether Americans believed that taste was innate—and therefore a marker of breeding and station—or acquired—and thus the product of application and study—all could appreciate that taste was grounded in, demonstrated through, and confirmed by reading, writing, and looking. It was widely believed that shared aesthetic sensibilities connected like-minded individuals and that shared affinities advanced the public good and held great promise for the American republic. Exploring the intersection of the early republic's material, visual, literary, and political cultures, Catherine E. Kelly demonstrates how American thinkers acknowledged the similarities between aesthetics and politics in order to wrestle with questions about power and authority. Judgments about art, architecture, literature, poetry, and the theater became an arena for considering political issues ranging from government structures and legislative representation to qualifications for citizenship and the meaning of liberty itself. Additionally, if taste prompted political debate, it also encouraged affinity grounded in a shared national identity. In the years following independence, ordinary women and men reassured themselves that taste revealed larger truths about an individual's character and potential for republican citizenship. Did an early national vocabulary of taste, then, with its privileged visuality, register beyond the debates over the ratification of the Constitution? Did it truly extend beyond political and politicized discourse to inform the imaginative structures and material forms of everyday life? Republic of Taste affirms that it did, although not in ways that anyone could have predicted at the conclusion of the American Revolution.

Infamous for authoring two concepts since favored by government powers seeking license for ruthlessness—the utilitarian notion of privileging the greatest happiness for the most people and the panopticon—Jeremy Bentham is not commonly associated with political emancipation. But perhaps he should be. In his private manuscripts, Bentham agonized over the injustice of laws prohibiting sexual nonconformity, questioning state policy that would put someone to death merely for enjoying an uncommon pleasure. He identified sources of hatred for sexual nonconformists in philosophy, law, religion, and literature, arguing that his goal of "the greatest happiness" would be impossible as long as authorities dictate whose pleasures can be tolerated and whose must be forbidden. Ultimately, Bentham came to believe that authorities worked to maximize the suffering of women, colonized and enslaved persons, and sexual nonconformists in order to demoralize disenfranchised people and prevent any challenge to power. In Uncommon Sense, Carrie Shanafelt reads Bentham’s sexual nonconformity papers as an argument for the toleration of aesthetic difference as the foundation for egalitarian liberty, shedding new light on eighteenth-century aesthetics and politics. At odds with the common image of Bentham as a dehumanizing calculator or an eccentric projector, this innovative study shows Bentham at his most intimate, outraged by injustice and desperate for the end of sanctioned, discriminatory violence.

In this provocative book design historian Penny Sparke argues that, through its emphasis on masculine rather than feminine cultureùon, that is, production rather consumption, style rather than taste, and the public sphere rather than the private sphereùdesign modernism was a highly gendered project that was intrinsically flawed and destined to prove inadequate in the pluralistic, multicultural, postmodern world that we inhabit today. Ranging across histories of domesticity, feminine consumption and homemaking, as well as modern design and cultural theories, Penny Sparke offers a new version of the history of modern material culture. --Book Jacket.