By Comfort, Alex; Read, Herbert; Ward, Colin; Honeywell, Carissa; Read, Herbert; Ward, Colin; Comfort, Alex

The ebook analyzes the information of Herbert learn, Colin Ward, and Alex convenience to focus on the function of anarchism in modern political suggestion and activities.

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Additional resources for A British anarchist tradition : Herbert Read, Alex Comfort and Colin Ward

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Eliot at Faber and Faber. In the 1930s and after, Read was the key promoter of significant British modernist artists Barbara Hepworth, Henry Moore and Ben Nicholson. He was also one of the most committed founders in 1946 of the Institute of Contemporary Arts. As a partner at Routledge he was influential in the development of its publishing identity. In 1952 he was knighted for services to literature and later in his career he was a trustee at the Tate Gallery. Read was also a published poet and novelist, a key signatory of the anti-militarist, anti-nuclear Committee of 100, and one of the first critics to use psychoanalytical methods.

Richard Taylor, Against the Bomb: The British Movement 1958–1965 (Oxford: Clarendon Press, 1988), p. 247. 1 As a statement of challenge this artwork assumes an awareness of the significance of Read’s contribution to art criticism. To date, no one has pulped any of Read’s political commentary, which has mostly been treated as an eccentric quirk of his promotion of novelty. However, Herbert Read was more than an art critic. He succeeded in drawing anarchist and British intellectual sources into a unique set of insights about the transformative potential of human experience in one particular incorruptible sphere: the human perception of beauty.

Read added to these perspectives a psychological defence of the developmental importance of inner unconscious impulses and self-awareness to the mental health of the individual and his social role. Read contributed to the anarchist tradition of thinking about individual freedom a link between liberty, selfdevelopment and personality, and a parallel link between power, individual anxiety and psychosis. For Read art was a concrete agent of political freedom, not through its subject matter but through an anarchist celebration of natural order and individual judgement that radicalized his view of the aesthetic appreciation of form.

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