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A leading figure of the postwar avant-garde, Danish artist Asger
Jorn has long been recognized for his founding contributions to the
Cobra and Situationist International movements - yet art historical
scholarship on Jorn has been sparse, particularly in English. This
study corrects that imbalance, offering a synthetic account of the
essential phases of this prolific artist's career. It addresses his
works in various media alongside his extensive writings and his
collaborations with various artists' groups from the 1940s through
the mid-1960s. Situating Jorn's work in an international,
post-Second World War context, Karen Kurczynski reframes our
understanding of the 1950s, away from the Abstract-Expressionist
focus on individual expression, toward a more open-ended conception
of art as a public engagement with contemporary culture and
politics. Kurczynski engages with issues of interest to
twenty-first-century artists and scholars, highlighting Jorn's
proposition that the sensory address of art and its complex
relationship to popular media can have a direct social impact.
Perhaps most significantly, this study foregrounds Jorn's assertion
that creativity is crucial to subjectivity itself in our
increasingly mediated 'Society of the Spectacle.'
This book examines the art of Cobra, a network of poets and artists
from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the
name stood for the organizers' home cities, the Cobra artists
hailed from countries in Europe, Africa, and the United States.
This book investigates how a group of struggling young artists
attempted to reinvent the international avant-garde after the
devastation of the Second World War, to create artistic experiments
capable of facing the challenges of postwar society. It explores
how Cobra's experimental, often collective art works and
publications relate to broader debates in Europe about the use of
images to commemorate violent events, the possibility of free
expression in an art world constrained by Cold War politics, the
breakdown of primitivism in an era of colonial independence
movements, and the importance of spontaneity in a society
increasingly dominated by the mass media. This book will be of
interest to scholars in art history, 20th-century modern art,
avant-garde arts, and European history.
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Burst! Abstract Painting After 1945
Daniel Zamani, Heidi Bale Amundsen; Mary Gabriel, Karen Kurczynski, Jeremy Lewison, …
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R700
Discovery Miles 7 000
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Ships in 12 - 17 working days
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This book examines the art of Cobra, a network of poets and artists
from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the
name stood for the organizers' home cities, the Cobra artists
hailed from countries in Europe, Africa, and the United States.
This book investigates how a group of struggling young artists
attempted to reinvent the international avant-garde after the
devastation of the Second World War, to create artistic experiments
capable of facing the challenges of postwar society. It explores
how Cobra's experimental, often collective art works and
publications relate to broader debates in Europe about the use of
images to commemorate violent events, the possibility of free
expression in an art world constrained by Cold War politics, the
breakdown of primitivism in an era of colonial independence
movements, and the importance of spontaneity in a society
increasingly dominated by the mass media. This book will be of
interest to scholars in art history, 20th-century modern art,
avant-garde arts, and European history.
A leading figure of the postwar avant-garde, Danish artist Asger
Jorn has long been recognized for his founding contributions to the
Cobra and Situationist International movements - yet art historical
scholarship on Jorn has been sparse, particularly in English. This
study corrects that imbalance, offering a synthetic account of the
essential phases of this prolific artist's career. It addresses his
works in various media alongside his extensive writings and his
collaborations with various artists' groups from the 1940s through
the mid-1960s. Situating Jorn's work in an international,
post-Second World War context, Karen Kurczynski reframes our
understanding of the 1950s, away from the Abstract-Expressionist
focus on individual expression, toward a more open-ended conception
of art as a public engagement with contemporary culture and
politics. Kurczynski engages with issues of interest to
twenty-first-century artists and scholars, highlighting Jorn's
proposition that the sensory address of art and its complex
relationship to popular media can have a direct social impact.
Perhaps most significantly, this study foregrounds Jorn's assertion
that creativity is crucial to subjectivity itself in our
increasingly mediated 'Society of the Spectacle.'
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