Modernism is scorching back. on the sunrise of the twenty-first century, poets and designers, designers and critics, academics and artists are rediscovering the virtues of the former century’s so much brilliant cultural constellation. but this frequent embody increases questions on modernism’s relation to its personal good fortune. Modernism’s “badness”—its emphasis on outrageous habit, its elevation of negativity, its refusal to be condoned—seems necessary to its strength. yet as soon as modernism is authorised as “good” or priceless (as loads of modernist paintings now is), its prestige as a subversive aesthetic intervention turns out undermined. The members to Bad Modernisms
tease out the contradictions in modernism’s dedication to badness.
Bad Modernisms therefore builds on and extends the “new modernist studies,” fresh paintings marked through the applying of numerous equipment and a focus to texts and artists now not often classified as modernist. during this assortment, those advancements are exemplified through essays starting from a examining of dandyism in Nineteen Twenties Harlem as a functionality of a “bad” black modernist imaginary to a attention of Filipino American modernism within the context of anticolonialism. The members re-evaluate known figures—such as Virginia Woolf, D. H. Lawrence, Josef von Sternberg, Ludwig Wittgenstein, W. H. Auden, and Wyndham Lewis—and carry to gentle the paintings of lesser-known artists, together with the author Carlos Bulosan and the experimental filmmaker Len Lye. interpreting cultural artifacts starting from novels to manifestos, from philosophical treatises to motion picture musicals, and from anthropological essays to advertisements campaigns, those essays sign the capaciousness and effort galvanizing the recent modernist studies.
Contributors. Lisa Fluet, Laura Frost, Michael LeMahieu, Heather ok. Love, Douglas Mao, Jesse Matz, Joshua L. Miller, Monica L. Miller, Sianne Ngai, Martin Puchner, Rebecca L. Walkowitz