By David A. Schlossman
This scholarly paintings appears to be like on the factor of politics and function in the USA at the present time with specific recognition paid to performances produced by means of activists, the NEA 4, and "Miss Saigon".
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Additional resources for Actors and Activists: Performance, Politics, and Exchange Among Social Worlds
Copeland ~~ reiterates the idea that politics is bad for art, arguing that, while art may not be able to divorce itself entirely from society, it finds a better legal defense against censorship in modernist aesthetics than in postmodern attention to politics. lY His main evidence that modernism protects artistic freedom is that the Cincinnati defendants were acquitted because eloquent art experts attested to the formal value of Mapplethorpe's work. I believe, however, that Copeland misconstrues the course of the Cincinnati trial.
C. 702) that prohibited civilian use of military uniforms, presumably to prevent civilians from impersonating military personnel. C. 772 [f]) that allowed performers in theatrical and motion picture productions to wear military uniforms. A jury refused to acknowledge that Schacht's performance was a "theatrical production," and he was sentenced to a fine of $250 and six months in jail. An appellate court upheld the lower court's decision, but on May 25, 1970, the Supreme Court sided unanimously with Schacht and overturned his conviction.
Where was [conservative art critic] Hilton ICramer? " (Hess 281). Hess's questions suggest that the Cincinnati defendants won acquittal not because they were protected by a modernist "art context" but because the defense presented a group of experts that the prosecutors did not adequately rebut. In the end, I believe, Copeland misinterprets the facts, the modernists, the postmodernists, and society; he ignores overtly political modernist works, such as Picasso's Guernica, and he collapses the diversity of critical and artistic expression collectively called "postmodernism" into a single vague formulation.