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Showing 1 - 7 of
7 matches in All Departments
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An-My LĂȘ: Between Two Rivers
Roxana Marcoci; Contributions by La Frances Hui, Joan Kee, Thy Phu, Caitlin Ryan, …
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R1,126
Discovery Miles 11 260
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Ships in 12 - 17 working days
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A groundbreaking method for writing art history, using the language
of geometry. Â How do we embark on a history of art from the
assumption of a global majority, outside of essentializing
categories like race or hollow proclamations of solidarity? With
this book, Joan Kee presents a framework for understanding the rich
and surprisingly understudied relationship between Black and Asian
artists and the worlds they initiate through their work. Â
The Geometries of Afro Asia breaks down this relationship and
chronology into points, angles, and trajectories. Spanning North
America, Europe, Asia, and Africa, Kee looks at the relationships
that formed between Black and Asian artists at critical historical
juncturesâfrom civil rights struggles in the United States and
the development of South Korea amid US military occupation in the
1960s and 1970s to debates over multiculturalism and critiques of
globalization in the 1990s and 2010s. Through geometry, a
language of magnitudes and alignments, Kee opens up new ways of
seeing how artworks shape our lives and politics by getting us to
commit some of our most valuable resourcesâtime and
attentionâto one another.
Starting in the mid-1960s, a group of Korean artists began to push
paint, soak canvas, drag pencils, rip paper, and otherwise
manipulate the materials of painting in ways that prompted critics
to describe their actions as "methods" rather than artworks. A
crucial artistic movement of twentieth-century Korea, Tansaekhwa
(monochromatic painting) also became one of its most famous and
successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to
be the international face of contemporary Korean art and a
cornerstone of contemporary Asian art. In this full-color, richly
illustrated account-the first of its kind in English-Joan Kee
provides a fresh interpretation of the movement's emergence and
meaning that sheds new light on the history of abstraction,
twentieth-century Asian art, and contemporary art in general.
Combining close readings, archival research, and interviews with
leading Tansaekhwa artists, Kee focuses on an essential but often
overlooked dimension of the movement: how artists made a case for
abstraction as a way for viewers to engage productively with the
world and its systems. As Kee shows, artists such as Lee Ufan, Park
Seobo, Kwon Young-woo, Yun Hyongkeun, and Ha Chonghyun urgently
stressed certain fundamentals, recognizing that overwhelming forces
such as decolonization, authoritarianism, and the rise of a new
postwar internationalism could be approached through highly
individual experiences that challenged viewers to consider how they
understood their world rather than why. Against the backdrop of the
Cold War, decolonization, and the declaration of martial law in
South Korea, these artists asked questions that continue to
resonate today: In what ways can art matter to the world? How does
art exert agency when its viewers live in times of explicit or
implicit duress? How can specific social and political conditions
inspire or influence methods and styles?
Models of Integrity examines the relationship between contemporary
art and the law through the lens of integrity. In the 1960s,
artists began to engage conspicuously with legal ideas, rituals,
and documents. The law-a primary institution subject to intense
moral and political scrutiny-was a widely recognized source of
authority to audiences inside the art world and out. Artists
frequently engaged with the law in ways that signaled a
recuperation of the integrity that they believed had been
compromised by the very institutions entrusted with establishing
standards of just conduct. These artists sought to convey the
social purpose of an artwork without overstating its political
impact and without losing sight of how aesthetic decisions compel
audiences to see their everyday world differently. Addressing the
role that law plays in enabling artworks to function as social and
political forces, this important book fills a gap in the field of
law and the humanities, and will serve as a practical "how-to" for
contemporary artists.
A groundbreaking method for writing art history, using the language
of geometry. Â How do we embark on a history of art from the
assumption of a global majority, outside of essentializing
categories like race or hollow proclamations of solidarity? With
this book, Joan Kee presents a framework for understanding the rich
and surprisingly understudied relationship between Black and Asian
artists and the worlds they initiate through their work. Â
The Geometries of Afro Asia breaks down this relationship and
chronology into points, angles, and trajectories. Spanning North
America, Europe, Asia, and Africa, Kee looks at the relationships
that formed between Black and Asian artists at critical historical
juncturesâfrom civil rights struggles in the United States and
the development of South Korea amid US military occupation in the
1960s and 1970s to debates over multiculturalism and critiques of
globalization in the 1990s and 2010s. Through geometry, a
language of magnitudes and alignments, Kee opens up new ways of
seeing how artworks shape our lives and politics by getting us to
commit some of our most valuable resourcesâtime and
attentionâto one another.
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