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Autor(en): 
  • Paul Crowther
  • The Language of Twentieth-century Art: A Conceptual History 
     

    (Buch)
    Dieser Artikel gilt, aufgrund seiner Grösse, beim Versand als 2 Artikel!


    Übersicht

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    Lieferstatus:   i.d.R. innert 14-24 Tagen versandfertig
    Veröffentlichung:  Dezember 1997  
    Genre:  Architektur, Archäologie, Kunst 
    ISBN:  9780300072419 
    EAN-Code: 
    9780300072419 
    Verlag:  Yale University Press 
    Einband:  Gebunden  
    Sprache:  English  
    Dimensionen:  H 235 mm / B 152 mm / D 0 mm 
    Gewicht:  744 gr 
    Seiten:  264 
    Illustration:  50 b-w illus. 
    Bewertung: Titel bewerten / Meinung schreiben
    Inhalt:
    Recent theory has tended to understand the meaning of art primarily as a function of original contexts of production and reception or in its relation to fashionable notions of gender, multiculturalism, and "scopic regimes". These approaches, however, fail to negotiate adequately art's transhistorical and transcultural significance, a shortcoming that is particularly serious in relation to twentieth-century works because it confines their significance to contexts that are regulated by the specialist interests of a narrow managerial class of curators, critics, and historians. In this important book, Paul Crowther provides a radical reinterpretation of key phases and figures in twentieth-century art, focusing on the way artists and critics negotiate philosophically significant ideas.

    Crowther begins by discussing how and why form is significant. Using Derrida's notion of "iterability" -- a sign's capacity to be used across different contexts -- he links this possibility to key reciprocal cognitive relations that are the structural basis of self-consciousness. He then argues that while such relations are necessarily involved in any pictorial work, they are especially manifest in aesthetically valuable representation, and even more so in those twentieth-century works that radically transform or abandon conventional modes of representation. The involvement of key reciprocal relations gives such works a transhistorical and transcultural significance. To show this, Crowther investigates the theory and practice of important artists such as Malevich, Pollock, Mondrian, and Newman, and major tendencies such as Futurism, Surrealism, and Conceptual Art. By linking them to reciprocal relations, heis able to illuminate a language of twentieth-century art that cuts across those boundaries set out by such conventional notions as modern, avant-garde, and postmodern.

      



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