Red-Herring No. 2: Difference between revisions
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'''[http://www.darkmatterarchives.net/wp-content/uploads/2013/06/RedHerring.pdf Download from Dark Matter Archives]''' | |||
== Contents == | == Contents == | ||
{| class="wikitable" | {| class="wikitable" | ||
!Author | |||
!Title | !Title | ||
!pg. | !pg. | ||
|- | |- | ||
| | | | ||
|Editorial | |||
|2-3 | |||
|- | |- | ||
| | |H. R. Felton | ||
| | |The Artists' Union, N.Y. (1934-1938) | ||
| | |4-6 | ||
|- | |||
|Ron Stevens | |||
|Meeting (story) | |||
|7-25 | |||
|- | |- | ||
| | |J. Byron | ||
| | |'Down with Shah': courageous Iranian students lead nationwide protest against the Shah's fascist regime | ||
|25-35 | |||
|- | |- | ||
| | |Langston Hughes | ||
| | |To Negro writers: given at the American Writer's Congress, 1935 | ||
| | |36 | ||
|- | |- | ||
| | |Langston Hughes | ||
| | |White Man | ||
| | |36 | ||
|- | |- | ||
| | |Fred Lonidier | ||
| | |Art and unions in the U.S. | ||
| | |37-45 | ||
|- | |- | ||
| | |C.K. Conridge | ||
| | |Two roads | ||
| | |46-61 | ||
|- | |- | ||
| | |Steven V. Roberts | ||
| | |Social mobility found key to U.S. views on class | ||
| | |62 | ||
|- | |- | ||
| | |L. Lucha | ||
| | |The free world thesis | ||
| | |63-67 | ||
|- | |- | ||
| | |Helen R. | ||
| | |Listen close | ||
| | |64 | ||
|} | |} | ||
== Retrospectives == | |||
Michael Corris, 2017<ref>https://www.academia.edu/40746503/Art_and_Language_New_York_Project_Interview_with_Michael_Corris</ref><blockquote>[...] the second issue of ''Red-Herring'' had already been published and it was radically different than the first number. [...] I wasn’t [involved in its making]. And Heller and I felt that the new emphasis on social realism in art was, to say the least, mistaken. We had no interest to wallow in nostalgia for the 1930s. [...] it was a mix of mediocre social realist short stories, bad activist graphics, and pedestrian historical summaries of the 1930s. It was really promoting the worst kind of visual cultural propaganda. So this marked the end of the line for me in terms of working across art and politics. [...]</blockquote> | |||
== References == | == References == | ||
{{Navbox-Art-Language}} | |||
Latest revision as of 08:55, 5 November 2023
| Red-Herring No. 2 | |
|---|---|
 | |
| Publication | Red-Herring |
| Date | 1978 |
| Volume | 1 |
| Number | 2 |
| Publisher | |
| Editor | |
Download from Dark Matter Archives
Contents
| Author | Title | pg. |
|---|---|---|
| Editorial | 2-3 | |
| H. R. Felton | The Artists' Union, N.Y. (1934-1938) | 4-6 |
| Ron Stevens | Meeting (story) | 7-25 |
| J. Byron | 'Down with Shah': courageous Iranian students lead nationwide protest against the Shah's fascist regime | 25-35 |
| Langston Hughes | To Negro writers: given at the American Writer's Congress, 1935 | 36 |
| Langston Hughes | White Man | 36 |
| Fred Lonidier | Art and unions in the U.S. | 37-45 |
| C.K. Conridge | Two roads | 46-61 |
| Steven V. Roberts | Social mobility found key to U.S. views on class | 62 |
| L. Lucha | The free world thesis | 63-67 |
| Helen R. | Listen close | 64 |
Retrospectives
Michael Corris, 2017[1]
[...] the second issue of Red-Herring had already been published and it was radically different than the first number. [...] I wasn’t [involved in its making]. And Heller and I felt that the new emphasis on social realism in art was, to say the least, mistaken. We had no interest to wallow in nostalgia for the 1930s. [...] it was a mix of mediocre social realist short stories, bad activist graphics, and pedestrian historical summaries of the 1930s. It was really promoting the worst kind of visual cultural propaganda. So this marked the end of the line for me in terms of working across art and politics. [...]
References
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