Signifying Art: Essays on Art after 1960 considers the work of a generation of "respondants" to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the works of Minimal and Conceptual artists, particularly Donald Judd and Sol LeWitt, who sought to make objective and theoretical artifacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in light of contemporary issues, Welish offers a fresh reevaluation of some of the major trends and production of postwar American painting.

Signifying Art: Essays on Art after 1960 considers the work of a generation of "respondants" to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the works of Minimal and Conceptual artists, particularly Donald Judd and Sol LeWitt, who sought to make objective and theoretical artifacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in light of contemporary issues, Welish offers a fresh reevaluation of some of the major trends and production of postwar American painting.

Originally published in 1999, Visualizing Labor in American Sculpture focuses on representations of work in American sculpture, from the decade in which the American Federation of Labor was formed, to the inauguration of the federal works project that subsidized American artists during the Great Depression. Monumental in form and commemorative in function, these sculptural works provide a public record of attitudes toward labor in a transitional moment in the history of relations between labor and management. Melissa Dabakis argues that sculptural imagery of industrial labor shaped attitudes towards work and the role of the worker in modern society. Restoring a group of important monuments to the history of labor, gender studies and American art history, her book focuses on key monuments and small-scale works in which labor was often constituted as 'manly' and where the work ethic mediated both production and reception.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W.Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Lessing, Kant, Schiller, and Schlegel to Adorno and Stanley Cavell. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, Theirry de Duve, and Arthur Danto; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, and Theirry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

Surrealist Art and Writing offers a fresh analysis of Surrealism, the avant-garde movement that, in its search for contemporary lyricism and imagery, united literature and art to politics and psychology. Examining Surrealism's main phases from a variety of perspectives, Jack Spector emphasises the rebellion of the protagonists against their middle-class education. In Manifestos and Manifestations the Surrealists promoted Marxist over liberal politics; Freudian psychoanalysis over French psychiatry; Hegelian dialectics over Cartesian logic; and the outmoded, psychotic, or childish over modernist art. This study offers a coherent overview of the exciting and important interwar period in Europe. In particular it places avant-garde ideas and imagery within the historical and political contexts of the 1920s and 30s, integrating them into contemporary artistic and ideological currents.

Thomas Eakins is widely considered one of the great American painters, an artist whose uncompromising realism helped move American art from the Victorian era into the modern age. He is also acclaimed as a paragon of integrity, one who stood up for his artistic beliefs even when they brought him personal and professional difficulty--as when he was fired from the Pennsylvania Academy of Art for removing a model's loincloth in a drawing class.
Yet beneath the surface of Eakins's pictures is a sense of brooding unease and latent violence--a discomfort voiced by one of his sitters who said his portrait "decapitated" her. In Eakins Revealed, art historian Henry Adams examines the dark side of Eakins's life and work, in a startling new biography that will change our understanding of this American icon. Based on close study of Eakins's work and new research in the Bregler papers, a major collection never fully mined by scholars, this volume shows Eakins was not merely uncompromising, but harsh and brutal both in his personal life and in his painting. Adams uncovers the bitter personal feuds and family tragedies surrounding Eakins--his mother died insane and his niece committed suicide amid allegations that Eakins had seduced her--and documents the artist's tendency toward psychological abuse and sexual harassment of those around him.
This provocative book not only unveils new facts about Eakins's life; more important, it makes sense, for the first time, of the enigmas of his work. Eakins Revealed promises to be a controversial biography that will attract readers inside and outside the art world, and fascinate anyone concerned with the mystery of artistic genius.

This volume published in association with the Hornemann Institute, Hildesheim contains the papers presented at an international symposium.

How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships - with the people represented in the works, or with those we imagine produced them. When we listen to music or look at a purely abstract painting, or when we drink a glass of wine, can we enjoy the experience without verbalizing our response? Do our interpretative assumptions, our awareness of technique, and our attitudes to fantasy, get in the way of our appreciation of art, or enhance it? As the book examines these questions and more, we discover how curiosity drives us to enjoy narratives, ordinary jokes, metaphors, and modernist epiphanies, and how narrative in all the arts can order and provoke intense enjoyment. Pleasurable in its own right, Pleasure and the Arts presents a sparkling explanation of the enduring interest of artistic expression.

Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the "discovery" of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century.
J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted; and Browning's involvement with the debate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at the beginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes from the history of modernism. One is the explosive British reaction tothe primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whom Lawrence met in Italy before the First World War.

This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

This selection of essays by a prominent art historian, critic and curator of modern art examines the art and artists of the twentieth century who have operated outside the established art world. In a lucid and accessible style, Peter Selz explores modern art as it is reflected, and has had an impact on, the tremendous transformations of politics and culture, both in the United States and in Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative center, and how marginal art has affected that of the mainstream.

In this collection of critical essays, Barry Schwabsky re-examines the art produced since the 1960s, demonstrating how the achievements of 'high modernism' remain consequential to it, through tensions between representation, abstraction, and pictorial language. Offering close readings of works produced by several generations of European and American artists, he begins with an analysis of the late period of two Abstract Expressionists, Philip Guston and Mark Rothko, who saw their own success as a failure of reception and who came to question radically their own work. With the core of the book focused on Michelangelo Pistoletto and Mel Bochner, major figures of arte povera and conceptual art whose works in a variety of media demonstrate a continuing critical engagement with modernism, Schwabsky also studies the work of artists, such as L. C. Armstrong and Rainer Ganahl, who also continued to examine modernism's legacies.

Renowned American artist Anne Truitt kept this illuminating and inspiring journal over a period of seven years, determined to come to terms with the forces that shaped her art and life. Within its beautifully written pages, you will come to know a woman whose range of sensitivity-moral, intellectual, sensual, emotional, and spiritual-is remarkably broad. She recalls her childhood on the eastern shore of Maryland, her career change from psychology to art, and her path to making sculptures so finely painted that they would "set colour free in three dimensions." She reflects on the generous advice of other artists, watches her own daughter's journey into motherhood, meditates on criticism and solitude, and struggles to express her vision. Resonant and true, encouraging and revelatory, Anne Truitt guides herself-and us-through a life in which domestic activities and the needs of children and friends are constantly juxtaposed against the world of colour and abstract geometry to which she is drawn in her art. A rare window on the workings of a creative mind, Daybookshowcases an extraordinary artist whose insights generously and succinctly illuminate the artistic process.

In 1917, Marcel Duchamp sent out a 'telegram' in the guise of a urinal signed R. Mutt. When it arrived at its destination a good forty years later it was both celebrated and vilified as proclaiming that anything could be art; from that point on, the whole Western art world reconfigured itself as 'post-Duchamp'. This book offers a reading of Duchamp's telegram that sheds new light onto its first reception, corrects some historical mistakes and reveals that Duchamp's urinal in fact heralds the demise of the fine arts system and the advent of what Thierry de Duve calls the 'Art-in-General' system. Further, the author shows that this new system does not date from the 1960s but rather from the 1880s. Duchamp was neither its author nor its agent, but rather its brilliant messenger.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary." The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption - called "contemporary art" - emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova. The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

This book brings together from four years of study on Nigerian contemporary art's internationalization. The monograph integrates voices of African (Nigerian) artists and art market players into the growing discourse on the emerging art markets in the global South. It explores the logic of competition and dynamics of power relations in the global markets, focusing on the internationalization of contemporary art forms from peripheral regions. The book confirms that the internationalization of contemporary art form from Nigeria is limited due to systematic marginalization in the artistic field, which in this case based on postcolonialism, and debilitating socio-economic factors such as outmoded art education, unstructured support system and weak mechanism for local validation, and an inefficient political framework for art governance. It will therefore be useful to students and researchers in the sociology of art, art market studies, art history and culture polity.

The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.

The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.

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"The essays probe the growing vocabulary of Holocaust imagery and address the various ways (in varied venues) that the Holocaust has been remembered, represented, and received."--"American Jewish History"

"This challenging collection of essays which also contains some stunning art work, should find a place in every library that deals with the memory of the Holocaust and its effects that transcend the generation."
--"Conservative Judaism"

"(Makes) a cogent case for a deeper, unmastered engagement with Holocause trauma."--"Journal of Jewish Studies"

Impossible Images brings together a distinguished group of contributors, including artists, photographers, cultural critics, and historians, to analyze the ways in which the Holocaust has been represented in and through paintings, architecture, photographs, museums, and monuments.

Exploring frequently neglected aspects of contemporary art after the Holocaust, the volume demonstrates how visual culture informs Jewish memory, and makes clear that art matters in contemporary Jewish studies. Accepting that knowledge is culturally constructed, Impossible Images makes explicit the ways in which context matters. It shows how the places where an artist works shape what is produced, in what ways the space in which a work of art is exhibited and how it is named influences what is seen or not seen, and how calling attention to certain details in a visual work, such as a gesture, a color, or an icon, can change the meaning assigned to the work as a whole.

Written accessibly for a general readership and those interested in art and art history, the volume also includes 20 colorplates from leading artists Alice Lok Cahana, Judy Chicago, Debbie Teicholz, and Mindy Weisel.

Bakhtin and the Visual Arts assesses the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary categories, Bakhtin worked on a larger philosophy of creativity, which was never completed. Deborah Haynes's in-depth 1995 study of his aesthetics, especially his theory of creativity, analyses its applicability to contemporary art theory and criticism. The author argues that Bakhtin, with such categories as answerability, outsideness and unfinalizability, offers a conceptual basis for interpreting the moral dimensions of creative activity.

"Design History has become a complex and wide-ranging discipline. It now examines artefacts from conception to development, production, mediation, and consumption. Over the last few decades, the discipline has developed a diverse range of theories and methodologies for the analysis of objects. Design History presents the most comprehensive overview and guide to these developments. The book first traces the development of the discipline, explaining how it draws from Art History, Industrial Design, Cultural History and Material Culture Studies. The core of the book then analyses the seminal methodologies used in Design History today. The final section highlights the key issues concerning knowledge and meaning in Design. Throughout, the aim is to present a concise and accessible introduction to this complex field. A map to the intellectual landscape of Design History, the book will be an invaluable guide for students and a very useful reference for scholars"--Provided by publisher.

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

A groundbreaking insight into Gustave Courbet and his bold experiments in landscape painting Between 1862 and 1866 Gustave Courbet embarked on a series of sensuous landscape paintings that would later inspire the likes of Monet, Pissarro, and Cezanne. This series has long been neglected in favor of Courbet's paintings of rural French life. Courbet's Landscapes: The Origins of Modern Painting explores these astonishing paintings, staking a claim for their importance to Courbet's work and later developments in French modernism. Ranging from the grottoes of Courbet's native Franche-Comte to the beaches of Normandy, Paul Galvez follows the artist on his travels as he uses a palette-knife to transform the Romantic landscape of voyage into a direct, visceral confrontation with the material world. The Courbet he discovers is not the celebrated history painter of provincial life, but a committed landscapist whose view of nature aligns him with contemporary developments in geology, history, linguistics, and literature.

When the original edition of this book was published, John Russell hailed it as a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art. It still remains the most compact, accurate and reasonably priced survey of sixty years of creative dynamic activity that profoundly influenced the progress of Western art and architecture.