By Amelia Jones
A significant other to modern artwork is an incredible survey overlaying the key works and routine, crucial theoretical advancements, and the ancient, social, political, and aesthetic concerns in modern paintings due to the fact 1945, essentially within the Euro-American context.
Collects 27 unique essays via specialist students describing the present kingdom of scholarship in artwork historical past and visible reviews, and pointing to destiny instructions within the field.
comprises twin chronological and thematic assurance of the main subject matters within the
artwork of our time: politics, tradition wars, public house, diaspora, the artist, id politics, the physique, and visible culture.
deals artificial research, in addition to new methods to, debates valuable to the visible arts considering 1945 similar to these addressing formalism, the avant-garde, the position of the artist, expertise and artwork, and the society of the spectacle.
Read Online or Download A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2) PDF
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Additional resources for A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2)
I will consider, therefore, amongst other things, the “queer” silences of so-called Neo-Dada art, the participatory activism of Neoconcrete art and Happenings, as well as the ambivalent reflections on mass culture evident within emergent pop art, with a view to illuminating the various generative models of critical culture produced well before the artistic rebellions of the 1960s and 1970s. ”2 For Rauschenberg and others in the 1950s, then so too for me as I write this chapter in the early years of the twentieth-first century.
Johns and Rauschenberg drew much of their inspiration from the composer John Cage. Cage eschewed the ethos of self-expression that was so important to abstract expressionism. In responding to Willem de Kooning’s avowed desire to be a great artist, Cage comments that “it was this aspect of wanting to be an artist . . who had something to say, who wanted through his work to appear really great . . ”12 This idea of not being an artist “with something to say,” indeed of being one with nothing to say, was starkly set out in Cage’s “Lecture on Nothing” which he delivered to members of the abstract expressionist circle in 1949.
Just TO PAINT. The gesture on the canvas was a gesture of liberation, from Value – political, esthetic, moral” (30). 5 This reading of action painting’s revolutionary ethos has been subject to much criticism by art historical accounts produced within the past few decades informed by feminism and post-colonial theory. Both Amelia Jones (1998) and Rebecca Schneider (2004) have variously criticized the idea of action painting’s singular “originary” gesture as a patriarchal trope designed to style the masculine subject as creative and generative of culture, whilst relegating its presumptive feminine Other to the realm of nature and the procreative.