By Amelia Jones
A significant other to modern artwork is an immense survey overlaying the main works and events, crucial theoretical advancements, and the old, social, political, and aesthetic matters in modern paintings given that 1945, essentially within the Euro-American context.
Collects 27 unique essays through specialist students describing the present country of scholarship in artwork background and visible experiences, and pointing to destiny instructions within the field.
comprises twin chronological and thematic insurance of the key subject matters within the
paintings of our time: politics, tradition wars, public house, diaspora, the artist, identification politics, the physique, and visible culture.
bargains man made research, in addition to new methods to, debates imperative to the visible arts due to the fact 1945 equivalent to these addressing formalism, the avant-garde, the position of the artist, expertise and paintings, and the society of the spectacle.
Read or Download A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2) PDF
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Extra info for A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2)
Similarly perhaps for the painter Agnes Martin, who, though not strictly speaking part of the Cagean circle at this time, can be seen to perform a comparable closeting maneuver in her paintings of the late fifties. Martin also took silence to be an important part of her aesthetic enterprise. ”16 Such an interest set her apart from artists who were interested in making themselves the autobiographical subject of their art and instead led her to make an art of apparent self-negation. Her canvases are made up, one might almost say, of “nothing,” save for a delicately pencil-lined grid formation which is more or less visible depending upon the spectator’s proximity to, or distance from, the painting’s surface.
What this book offers that is unique, then, is precisely the diversity of point of view, which comes together only in the loosest possible way through intersecting arguments emphasizing a varied and heterogeneous range of characteristics associated with art made since 1945. ) The few thoughts that might pull the book together as a whole, without violating its vitality (precisely sparked by its lack of unified point of view), would revolve around very broad concepts. In closing, then, let me just note that the CTC-C01 14 04/01/2006, 04:57PM WRITING CONTEMPORARY ART INTO HISTORY, A PARADOX?
10 Which is to say that, whilst artistic practice in the western metropolis was undeniably transformed by the influx of artists from (increasingly former) colonies during the 1950s, artistic discourse was largely mired in US- and Eurocentric understandings, and was therefore largely unable to respond in a productive manner to the post-colonial challenges provided by the art of the day. This, alongside my comments about gender above, make of the discourses of 1950s abstract painting a curious amalgam of revolutionary and reactionary values and attitudes.