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Art and Pluralism: Lawrence Alloway’s Cultural Criticism

Autor Nigel Whiteley
en Limba Engleză Hardback – 2 aug 2012
Lawrence Alloway (1926–90) was one of the most influential and widely respected art writers of the postwar years. A key interpreter of pop art, abstraction, and land art, he was also involved with the realist revival and the early feminist movement in art. Art and Pluralism provides close and critical readings of Alloway’s writings and sets his work in the context of the London and New York art worlds from the 1950s to the early 1980s. Nigel Whiteley underlines the particular importance of pluralism and its relationship with the artistic value systems that bookended it—formalism and postmodernism—shedding new light on postwar visual culture as a whole.
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Specificații

ISBN-13: 9781846316456
ISBN-10: 1846316456
Pagini: 510
Ilustrații: 50 halftones
Dimensiuni: 152 x 229 x 58 mm
Greutate: 1.07 kg
Editura: Liverpool University Press
Colecția Liverpool University Press

Notă biografică

Nigel Whiteley was professor of visual arts at the University of Lancaster.

Cuprins

List of Plates
Acknowledgements

Section A: Introduction
1. Alloway and pluralism
2. Background
3. The British art scene
4. Early career
Section B: Continuum, 1952–1961
1. Art Criticism, 1951–1952
2. The ICA in the early 1950s
3. The Independent Group: aesthetic problems
4. The Independent Group: popular culture
5. Art criticism, 1953–1955
6. Alloway and abstraction
7. Alloway and figurative art
8. This Is Tomorrow, 1956
9. Information Theory
10. Group 12 and Information Theory
11. Science fiction
12. The cultural continuum model
13. Writings about the movies
14. Graphics and advertising
15. Design
16. Architecture and the city
17. Channel flows
18. Art autre
19. The human image
20. Modern Art in the United States, 1956
21. Action Painting
22. First trip to the USA
23. The New American Painting, 1958
24. Alloway and Greenberg
25. Cold wars
26. British art and the USA: The Middle Generation
27. A younger generation and the avant-garde
28. Hard Edge
29. Place and the avant-garde, 1959
30. Situation and its legacy
31. The emergence of Pop art
32. Alloway's departure
Section C: Abundance, 1961–1971
1. Arrival in the USA and "Clemsville"
2. Junk art
3. American Pop
4. Curator at the Guggenheim
5. Six Painters and the Object and Six More, 1963
6. Other writings on Pop
7. Art as human evidence
8. Alexander Liberman and Paul Feeley
9. Systemic Painting, 1966
10. Abstraction and iconography
11. The communications network
12. Departure from the Guggenheim
13. Exile in Carbondale
14. Arts Magazine
15. The Venice Biennale
16. Return to New York: SVA, SUNY, and The Nation
17. Options
18. Expanding and disappearing works of art
19. Alloway's Nation criticism
20. Newness and the avant-garde
21. Post-Minimal radicalism
22. Historical revisions: Abstract Expressionism and Picasso
23. Mass communications
24. Film criticism
25. Violent America
26. Pluralism as a "unifying theory"
Section D: Alternatives, 1971–1988
1. Disorientation and dissent in the art world
2. Alloway and the politicization of art, 1968–1970
3. Changing values, 1971–1972
4. Artforum and the art world as a system
5. 1973 and a new pluralism
6. The uses and limits of art criticism
7. Criticism and women's art, 1972–1974
8. Women's art and criticism, 1975
9. The realist "renewal"
10. Photo-Realism
11. The realist "revival"
12. Realist revisionism
13. The decline of the avant-garde
14. "Legitimate variables"
15. Earth art
16. Public art
17. In praise of plenty
18. Crises in the art world: criticism
19. Crises in the art world: feminism
20. Crises in the art world: curatorship
21. The co-ops and "alternative" spaces
22. Turn of the decade decline
23. Mainstream . . .
24. . . .and "alternative"
25. The last years
26. The complex present
Section E: Summary and Conclusion
1. Pluralism
2. "Post-Modernism"
3. Art history
4. Art criticism
5. Alloway's reputation
6. Art
7. The legacy of pluralism

Select bibliography
Index