Get A Companion to Contemporary Art Since 1945 (Blackwell PDF

By Amelia Jones

A spouse to modern artwork is an important survey protecting the most important works and hobbies, crucial theoretical advancements, and the old, social, political, and aesthetic concerns in modern artwork considering that 1945, basically within the Euro-American context.

Collects 27 unique essays by means of 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 key issues within the

artwork of our time: politics, tradition wars, public area, diaspora, the artist, identification politics, the physique, and visible culture.
deals artificial research, in addition to new ways to, debates significant to the visible arts on the grounds that 1945 corresponding to these addressing formalism, the avant-garde, the position of the artist, know-how and artwork, 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)

Sample text

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. ” This was to announce succinctly Cage’s investment in a non-expressive musical practice, one that was not about the communication of ideas or the expression of the composer’s feelings, but rather an exploration of the “silence” left by the stripping away of authorial presence.

In contrast what follows will attempt to eschew such an exclusive focus by signposting other histories – of differing artistic and cultural practices both inside and outside the United States – which serve to displace the centrality of this narrative stream. For what is truly my story here is how in the fifties we witness the development and consolidation of a modernist “center” at precisely the same time that this gets undone in the various “alternative” practices to it and to American abstract expressionism.

14 And this goes right to the heart of the Cagean interest in silence CTC-C02 26 04/01/2006, 04:58PM 27 A R T A N D P O L I T I C S 1945–60 – and to Rauschenberg’s attempt at painting “nothing”: namely, that once one composes “silence” or paints “nothing” one ends up producing something in its stead: whether it be the ambient noise from the street or the auditorium, or the shapes and forms of cast and reflected light. The negation of an expressive act, then, the erasure of a subjective presence, brings about the creation of something else, something new.

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