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What was contemporary art?

著者: Richard Meyer
出版商: Cambridge, Massachusetts : The MIT Press, [2013]
版本/格式:   图书 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and
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所有的著者/提供者: Richard Meyer
ISBN: 9780262135085 0262135086
OCLC号码: 800447776
描述: xii, 361 pages : illustrations ; 24 cm
内容: Introduction: The Art-Historical Postmortem --
Young Professor Barr (1927) --
Prehistoric Modern (1937) --
Mid-Century Contemporary (1948) --
Afterword: Not Now (1994/2005).
责任: Richard Meyer.

摘要:

"Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.

Meyer analyzes an undergraduate course taught by Alfred Barr at Wellesley College in 1927 as a key moment in the introduction of works by living artists into the discipline of art history, then turns to a series of exhibitions from the 1930s that put contemporary art in dialogue with premodern works ranging from prehistoric cave pictures to Italian Renaissance paintings. Meyer also treats the controversy that arose in 1948 over the decision by Boston's Institute of Modern Art to change its name to the Institute of Contemporary Art. By retrieving moments in the history of once-current art, Meyer redefines "the contemporary" as a condition of being alive to and alongside other moments, artists, and objects.

A generous selection of images, many in color -- from works of fine art to museum brochures and magazine covers -- support and extend Meyer's narrative. These works were contemporary to their own moment. Now, in Meyer's account, they become contemporary to ours as well."

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Hard-hitting critical concerns blend into the narrative, the minutia of historical debates providing an opportunity to broaden our own art-historical moment and consider its possibilities. Publishers 再读一些...

 
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