By Amelia Jones
A spouse to modern artwork is an enormous survey protecting the most important works and routine, an important theoretical advancements, and the ancient, social, political, and aesthetic matters in modern paintings seeing that 1945, basically within the Euro-American context.
Collects 27 unique essays through specialist students describing the present nation of scholarship in paintings heritage and visible reports, and pointing to destiny instructions within the field.
comprises twin chronological and thematic insurance of the foremost topics within the
artwork of our time: politics, tradition wars, public house, diaspora, the artist, id politics, the physique, and visible culture.
bargains man made research, in addition to new methods to, debates principal to the visible arts on account that 1945 comparable to these addressing formalism, the avant-garde, the function of the artist, know-how and paintings, and the society of the spectacle.
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Additional resources for A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2)
Art Since Mid-Century, 1945 to the Present. New York: Vendome Press. Wood, Paul, Francis Frascina, Jonathan Harris, and Charles Harrison (1993). Modernism in Dispute: Art Since the Forties. New Haven: Yale University Press. CTC-C01 16 04/01/2006, 04:57PM PART II Decades CTC-C02 17 04/01/2006, 04:58PM CTC-C02 18 04/01/2006, 04:58PM 2 “America” and its Discontents: Art and Politics 1945–60 Gavin Butt Histories of the art of the immediate postwar years, and in particular of the 1950s, have been largely dominated by stories of the rise of US art in a world transformed by the emergence of the cold war.
3 The work of Still, Newman, and Mark Rothko was taken to be most advanced by Greenberg at this time by dint of the “emphatic” flatness of their paintings, derived from the “all-overness” of their surface design. This was brought about by the relative lack of tonal variation across the canvas field and resulted in a comparatively undifferentiated, and expansive, whole. This strict valorization of an art that stayed close to the “essence” of its medium came to be the dominant way of accounting for the value of “apolitical” painting in the postwar years – a-political because its value as art was deemed to be purely aesthetic and autonomous from all other systems of worth.
23 This “mixture” was evident in an Independent Group exhibition held at the Whitechapel Gallery in London in 1956 entitled This is Tomorrow. In many ways, the title echoes the futural programs and manifestoes of the avant-garde at the same time as riffing on the rhetoric of postwar reconstruction evident in national exhibitions such as the Festival of Britain, held in London in 1951. 2 Richard Hamilton, Just what is it that makes today’s homes so different, so appealing? 1957. Courtesy of Kunsthalle Tübingen.
A Companion to Contemporary Art Since 1945 (Blackwell companions in art history, Volume 2) by Amelia Jones