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Showing 1 - 9 of 9 matches in All Departments
Provides a counter history to conventional accounts of American art. Close historical examinations of particular events in Los Angeles and New York in the 1960s are interwoven with discussion of the location of these events, normally marginalized or overlooked, in the history of cultural politics in the United States during the postwar era. Contradictions both within dissident art practices and the mainstream avant-garde are explored. So, too, are the significance of cultural institutions in relation to the production of art, the function of cultural canons within national politics, the construction of collective memories, and the ways in which culture is embedded in ideology and politics. The book is based on detailed and new research from a range of sources including the alternative press, such as the Los Angeles Free Press; public and private archives; interviews and oral histories.
Modern Art Culture: A Reader provides an essential resource for understanding the culture of modern art since the 1960s. In recent years, media theorists and historians have asked whether works of imaginative art can have any impact in our image-saturated culture. Given the power of institutions, how do radical artists produce effective cultural interventions? In the aftermath of September 11th, 2001, many argue that pressing questions about works of art and their meanings are inseparable not only from contemporary social and political issues but also from major debates and developments in the last four decades. To explore such questions and issues, the Reader is divided into six related parts with articles from journals, magazines and exhibition catalogues that exemplify important interventions from the 1960s onwards: Histories, Representations and Remembrance; Art and Visual/Mass/Popular Culture; Institutions; Inclusions/Exclusions; Bodies and Identities; Power and Permissibility. Texts range from artists? engagement with the veil and veiling as metaphors for post-colonialist understandings of representation and contemporary art to early debates about, for example, ?activist art?, discourses of the ?body?, civil rights, ethnicity, and cultural power. Importantly these selected texts offer examples of analysis that can enable readers to examine, critically, their own selection of representations produced in a variety of contexts.
Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.
Modern Art Culture: A Reader provides an essential resource for understanding the culture of modern art since the 1960s. In recent years, media theorists and historians have asked whether works of imaginative art can have any impact in our image-saturated culture. Given the power of institutions, how do radical artists produce effective cultural interventions? In the aftermath of September 11th, 2001, many argue that pressing questions about works of art and their meanings are inseparable not only from contemporary social and political issues but also from major debates and developments in the last four decades. To explore such questions and issues, the Reader is divided into six related parts with articles from journals, magazines and exhibition catalogues that exemplify important interventions from the 1960s onwards: Histories, Representations and Remembrance; Art and Visual/Mass/Popular Culture; Institutions; Inclusions/Exclusions; Bodies and Identities; Power and Permissibility. Texts range from artists' engagement with the veil and veiling as metaphors for post-colonialist understandings of representation and contemporary art to early debates about, for example, 'activist art', discourses of the 'body', civil rights, ethnicity, and cultural power. Importantly these selected texts offer examples of analysis that can enable readers to examine, critically, their own selection of representations produced in a variety of contexts.
"Modern Art and Modernism" offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself."Modern Art and Modernism" presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.
Modern Art and Modernism offers first-hand material for the study of issues central to the development of modern art, its theory and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas and interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself. Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire to Zola in the 19th century to Greenburg and T J Clark on our own times. It offers a balanced selection of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expressionism in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist.
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