A Companion to Contemporary Art Since 1945
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A Companion to Contemporary Art is a major survey covering the major works and movements, the most important theoretical developments, and the historical, social, political, and aesthetic issues in contemporary art since 1945, primarily in the Euro-American context.
- Collects 27 original essays by expert scholars describing the current state of scholarship in art history and visual studies, and pointing to future directions in the field.
- Contains dual chronological and thematic coverage of the major themes in the art of our time: politics, culture wars, public space, diaspora, the artist, identity politics, the body, and visual culture.
- Offers synthetic analysis, as well as new approaches to, debates central to the visual arts since 1945 such as those addressing formalism, the avant-garde, the role of the artist, technology and art, and the society of the spectacle.
abstract expressionists – including Jackson Pollock, Willem de Kooning, Barnett Newman, and Clyfford Still – are shown struggling to produce a new art befitting the changed realities of the postwar age, and, since this age was seen to be emerging as decidedly American, it was to be discovered by working through and surpassing the existing forms of the pre-war European avant-garde, most notably surrealist automatism and late variants on cubism. Sandler’s book is at pains therefore to carefully
It Would Be Like This.” ArtNews (Summer):88–94. Miller, John (1987). “Baudrillard and his Discontents.” Artscribe International, no. 63 (May):48–51. Moore, Alan, with Jim Cornwell (2002). “Local History: The Art of Battle for Bohemia in New York.” In Alternative Art New York, 1965–1985, ed. Julie Ault. New York: The Drawing Center; and Minneapolis: University of Minnesota Press. 321–65. Nagy, Peter, moderator (1986). “Flash Art Panel: ‘From Criticism to Complicity.’ ” Flash Art, no. 129
Painted in 1988, they are technically a product of the eighties, but because they were first exhibited in the United States at New York University’s Grey Art Gallery in March and April 1990, subsequently purchased by the Museum of Modern Art in 1995, and given central place in Richter’s 2002–3 retrospective, it is in the 1990s and in the new century that they have insisted on their authority, at least with US-dominated versions of contemporary art discourse. In Richter’s work we are always at the
art work, which can be entered and explored like a CTC-C08 158 04/01/2006, 05:02PM RE-THINKING THE “DUCHAMP EFFECT” 159 Figure 8.2 Saul Melman, Johnny on the Spot, 2003. Wood, tyvek steel, fluorescent lights, in Black Rock Desert, Nevada, US. Photograph courtesy of Saul Melman shrine, could be seen as representing an ironic oasis for the male traveler in an otherwise arid landscape. It is clear, then, that artists are still very much involved in a dialogue with Duchamp. In saying this,
pleases us – make it difficult to reply to beauty’s invocation in art criticism. Beauty is obviously not as simple as the fantasy of immediacy would have it. There is a hierarchy of senses – if we taste something pleasing it is not beautiful but delicious, and, were we to bend down and smell beauty, well, our experience might not be described in terms of the beautiful: lingering about the sense of smell are the connotations of baseness, bestiality. To sniff at beauty, then, would be to denigrate