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[null,"1.","Record Nr.",null,"UNINA9910493227003321"]
[null,null,"Autore",null,"Lifshit͡s Mikhail Aleksandrovich <1905-1983.>"]
[null,null,"Titolo",null,"The crisis of ugliness : from Cubism to Pop-art / / by Mikhail Lifshitz ; translated by David Riff"]
[null,null,"Pubbl/distr/stampa",null,"Leiden ; ; Boston : , : Leiden, , [2018]"]
[null,null,"ISBN",null,"90-04-36655-5"]
[null,null,"Descrizione fisica",null,"1 online resource (203 pages)"]
[null,null,"Collana",null,"Historical materialism book series ; ; 158"]
[null,null,"Disciplina",null,"700/.4112"]
[null,null,"Soggetti",null,"Modernism (Art)"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Translation of: Krizis bezobrazii͡a."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Front Matter -- Copyright Page -- Acknowledgement -- List of Illustrations -- Notes on Text and Illustrations -- Mikhail Lifshitz: A Communist Contemporary / David Riff -- Foreword -- Myth and Reality: The Legend of Cubism -- The Phenomenology of the Soup Can: The Quirks of Taste -- Why am I Not a Modernist? -- Illustration Section -- Back Matter -- References -- Index."]
[null,null,null,"Sommario/riassunto","Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel , as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory."]