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This is the final volume in a series of four books about art and its interpretation from the mid-nineteenth century to the end of the twentieth. The books seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. They present a range of approaches characteristic of current art-historical debates. This fourth volume focuses on art since the 1930s, the main emphasis being on the period since the Second World War. The first chapter, 'Modernism and culture in the USA, 1930-1960', examines the ideological interests that governed the predominant Modernist account of the period. It establishes a different perspective by considering the connection between 'historical' and 'theoretical' debates in terms of the relationships between art, culture and society in the USA. Although the two focal points are the 1930s and the years after the Second World War, questions of cultural value and power in capitalist societies are also discussed in the context of parallels to be found in conditions during the 1990s. Chapter 2, 'The politics of representation', examines debates about the practices of art, art criticism and curatorial validation since the 1940s. These practices - considered as representations of ideas, values and beliefs - were produced in a period dominated by the Cold War consensus. A major issue is whether this consensus was ruptured during the late 1960s by a counter-culture characterized by, for example, feminism and the anti-Vietnam War movement. While questions about the function of art and culture are mostly located in the specific social and political conditions existing between the 1940s and the early 1970s, issues about thelegacy of this period are also considered. The final chapter, 'Modernity and Modernism reconsidered', examines the high Modernism of the 1960s and goes on to review movements such as Minimal Art, Land Art and Conceptual Art which continued or contested that tradition. It also considers various artistic forms of the 1980s and discusses the apparent revival of interest in painting. The chapter closes with an inquiry into the implications of the postmodernism debate for the practice of art today.
This volume is part of a four-volume series about art and its interpretation in the 19th and 20th centuries. The books provide an introduction to modern European and American art and criticism that should be valuable both to students and to the general reader.
On art and politics.
Grant Kester discusses the disparate network of artists & collectives united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, & culture.
On art in the early 20th century
In this excellent book, Jonathan Harris explores the fundamental changes which have occurred both in the institutions and practice of art history over the last thirty years.
Women Artists in Interwar France: Framing Femininities illuminates the importance of the Soci? des Femmes Artists Modernes, more commonly known as FAM, and returns this group to its proper place in the history of modern art. In particular, this volume explores how FAM and its most famous members?Suzanne Valadon, Marie Laurencin, and Tamara de Lempicka?brought a new approach to the most prominent themes of female embodiment: the self-portrait, motherhood, and the female nude. These women reimagined art's conventions and changed the direction of both art history and the politics of their contemporary art world. FAM has been excluded from histories of modern art despite its prominence during the interwar years. Paula Birnbaum's study redresses this omission, contextualizing the group's legacy in light of the conservative politics of 1930s France. The group's artistic response to the reactionary views and images of women at the time is shown to be a key element in the narrative of modernist formalism. Although many FAM works are missing?one reason for the lack of attention paid to their efforts?Birnbaum's extensive research, through archives, press clippings, and first-hand interviews with artists' families, reclaims FAM as an important chapter in the history of art from the interwar years.
This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism.
Iain Topliss presents a scholarly study of the drawings by Peter Arno, William Steig, Charles Addams & Saul Steinberg that have graced the pages of the New Yorker magazine.
Over the last two centuries, artists, critics, philosophers and theorists have contributed significantly to such representations of "the economy" as sublime. It might even be said that much of the emergence of a distinctly "modern" art in the West is inextricably linked to the perception of art’s own autonomy and, therefore, its privileged, mostly critical, gaze at the terrible mixture of wonder and horror of capitalist economic practices and institutions. The premise of this collection is that despite this perceptual sharing, "sublime economy" has yet to be investigated in a purely cross-disciplinary way. Sublime Economy seeks to map this critical territory by exploring the ways diverse concepts of economy and economic value have been culturally constituted and disseminated through modern art and cultural practice. Comprising of 14 individual essays along with an editors’ introduction, Sublime Economy draws together work from some of the leading scholars in the several fields currently exploring the intersection of economic and aesthetic practices and discourses. A pressing issue of this cross-disciplinary conversation is to discern how artists’, writers’, and cultural scholars’ constructions of distinct conceptions of economic value, as pertains to aesthetic objects as well as to more "everyday" objects and relations of mass consumption, have contributed to the ways "value" functions in and across disparate discourses. Thus this book looks at how cultural critics and theorists have put forward working notions of economic value that have regularities and effects similar to those of the "expert" conceptions and discourses about value that have been the preserve of professional economists.