The work of mid-twentieth century art theorist Anton Ehrenzweig is
explored in this original and timely study. An analysis of the
dynamic and invigorating intellectual influences, institutional
framework and legacy of his work, Between Art Practice and
Psychoanalysis reveals the context within which Ehrenzweig worked,
how that influenced him and those artists with whom he worked
closely. Beth Williamson looks to the writing of Melanie Klein,
Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig's
theory of art, a theory that extends beyond the visual arts to
music. In this first full-length study on his work, including an
inventory of his library, previously unexamined archival material
and unseen artworks sit at the heart of a book that examines
Ehrenzweig's working relationships with important British artists
such as Bridget Riley, Eduardo Paolozzi and other members of the
Independent Group in London in the 1950s and 1960s. In Ehrenzweig's
second book The Hidden Order of Art (1967) his thinking on Jackson
Pollock is important too. It was this book that inspired American
artists Robert Smithson and Robert Morris when they deployed his
concept of 'dedifferentiation'. Here Williamson offers new readings
of process art c. 1970 showing how Ehrenzweig's aesthetic retains
relevance beyond the immediate post-war era.
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