Industry and intelligence :: contemporary art since 1820 /
The history of modern art is often told through aesthetic breakthroughs that sync well with profound cultural and political change. Monet's riotous landscapes, Picasso's fractured forms, Pollock's insolent splatters, Warhol's proliferating soup cans, these examples track with the...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Columbia University Press,
[2016]
|
| Schriftenreihe: | Bampton lectures in America.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The history of modern art is often told through aesthetic breakthroughs that sync well with profound cultural and political change. Monet's riotous landscapes, Picasso's fractured forms, Pollock's insolent splatters, Warhol's proliferating soup cans, these examples track with the disruptions of industrialization, fascism, revolution, and war, among other influences. But filtering modern art only through catastrophic events cannot account for the subtle interrogations that inform so many contemporary works. The conceptual artist Liam Gillick writes the holistic genealogy of contemporary art that we need to appreciate its engagement with history, even when it seems apathetic or blind to current events. Rather than focus on dominant works or special cases, Gillick takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works. |
| Beschreibung: | 1 online resource (xv, 140 pages) : illustrations |
| Bibliographie: | Includes bibliographical references (pages 129-131) and index. |
| ISBN: | 9780231540964 0231540965 |
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| 100 | 1 | |a Gillick, Liam, |d 1964- |e author. |1 https://id.oclc.org/worldcat/entity/E39PBJfCrh6dQvDXQ4wK6VPfbd |0 http://id.loc.gov/authorities/names/n91121712 | |
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| 504 | |a Includes bibliographical references (pages 129-131) and index. | ||
| 520 | |a The history of modern art is often told through aesthetic breakthroughs that sync well with profound cultural and political change. Monet's riotous landscapes, Picasso's fractured forms, Pollock's insolent splatters, Warhol's proliferating soup cans, these examples track with the disruptions of industrialization, fascism, revolution, and war, among other influences. But filtering modern art only through catastrophic events cannot account for the subtle interrogations that inform so many contemporary works. The conceptual artist Liam Gillick writes the holistic genealogy of contemporary art that we need to appreciate its engagement with history, even when it seems apathetic or blind to current events. Rather than focus on dominant works or special cases, Gillick takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works. | ||
| 505 | 0 | |a Contemporary art does not account for that which is taking place -- Projection and parallelism -- Art as a pile : split and fragmented simultaneously -- 1820 : Erasmus and upheaval -- ASAP futures, not infinite future -- 1948 : B.F. Skinner and counter-revolution -- Abstract -- 1963 : Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974 : Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work? | |
| 650 | 0 | |a Art, Modern |x Themes, motives. | |
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| 776 | 0 | 8 | |i Print version: |t Industry and intelligence contemporary art since 1820. |d New York : Columbia University Press, 2016 |z 9780231170208 |w (DLC) 2015020970 |
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| author | Gillick, Liam, 1964- |
| author_GND | http://id.loc.gov/authorities/names/n91121712 |
| author_facet | Gillick, Liam, 1964- |
| author_role | aut |
| author_sort | Gillick, Liam, 1964- |
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| building | Verbundindex |
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| callnumber-first | N - Fine Arts |
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| contents | Contemporary art does not account for that which is taking place -- Projection and parallelism -- Art as a pile : split and fragmented simultaneously -- 1820 : Erasmus and upheaval -- ASAP futures, not infinite future -- 1948 : B.F. Skinner and counter-revolution -- Abstract -- 1963 : Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974 : Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work? |
| ctrlnum | (OCoLC)945232877 |
| dewey-full | 709.04 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 709 - History, geographic treatment, biography |
| dewey-raw | 709.04 |
| dewey-search | 709.04 |
| dewey-sort | 3709.04 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| format | Electronic eBook |
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| id | ZDB-4-EBA-ocn945232877 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:27:06Z |
| institution | BVB |
| isbn | 9780231540964 0231540965 |
| language | English |
| oclc_num | 945232877 |
| open_access_boolean | |
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| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Columbia University Press, |
| record_format | marc |
| series | Bampton lectures in America. |
| series2 | Bampton lectures in America |
| spelling | Gillick, Liam, 1964- author. https://id.oclc.org/worldcat/entity/E39PBJfCrh6dQvDXQ4wK6VPfbd http://id.loc.gov/authorities/names/n91121712 Works. Selections Industry and intelligence : contemporary art since 1820 / Liam Gillick. New York : Columbia University Press, [2016] 1 online resource (xv, 140 pages) : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier data file rda Bampton lectures in America Includes bibliographical references (pages 129-131) and index. The history of modern art is often told through aesthetic breakthroughs that sync well with profound cultural and political change. Monet's riotous landscapes, Picasso's fractured forms, Pollock's insolent splatters, Warhol's proliferating soup cans, these examples track with the disruptions of industrialization, fascism, revolution, and war, among other influences. But filtering modern art only through catastrophic events cannot account for the subtle interrogations that inform so many contemporary works. The conceptual artist Liam Gillick writes the holistic genealogy of contemporary art that we need to appreciate its engagement with history, even when it seems apathetic or blind to current events. Rather than focus on dominant works or special cases, Gillick takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works. Contemporary art does not account for that which is taking place -- Projection and parallelism -- Art as a pile : split and fragmented simultaneously -- 1820 : Erasmus and upheaval -- ASAP futures, not infinite future -- 1948 : B.F. Skinner and counter-revolution -- Abstract -- 1963 : Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974 : Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work? Art, Modern Themes, motives. Art and society. http://id.loc.gov/authorities/subjects/sh85007975 Art et société. ART Criticism & Theory. bisacsh ART History General. bisacsh Art and society fast Art, Modern Themes, motives fast has work: Selections Works (Text) https://id.oclc.org/worldcat/entity/E39PCFC3dxrD9kXTxf4BC8gvpd https://id.oclc.org/worldcat/ontology/hasWork Print version: Industry and intelligence contemporary art since 1820. New York : Columbia University Press, 2016 9780231170208 (DLC) 2015020970 Bampton lectures in America. http://id.loc.gov/authorities/names/n42003131 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1195734 Volltext |
| spellingShingle | Gillick, Liam, 1964- Industry and intelligence : contemporary art since 1820 / Bampton lectures in America. Contemporary art does not account for that which is taking place -- Projection and parallelism -- Art as a pile : split and fragmented simultaneously -- 1820 : Erasmus and upheaval -- ASAP futures, not infinite future -- 1948 : B.F. Skinner and counter-revolution -- Abstract -- 1963 : Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974 : Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work? Art, Modern Themes, motives. Art and society. http://id.loc.gov/authorities/subjects/sh85007975 Art et société. ART Criticism & Theory. bisacsh ART History General. bisacsh Art and society fast Art, Modern Themes, motives fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85007975 |
| title | Industry and intelligence : contemporary art since 1820 / |
| title_alt | Works. |
| title_auth | Industry and intelligence : contemporary art since 1820 / |
| title_exact_search | Industry and intelligence : contemporary art since 1820 / |
| title_full | Industry and intelligence : contemporary art since 1820 / Liam Gillick. |
| title_fullStr | Industry and intelligence : contemporary art since 1820 / Liam Gillick. |
| title_full_unstemmed | Industry and intelligence : contemporary art since 1820 / Liam Gillick. |
| title_short | Industry and intelligence : |
| title_sort | industry and intelligence contemporary art since 1820 |
| title_sub | contemporary art since 1820 / |
| topic | Art, Modern Themes, motives. Art and society. http://id.loc.gov/authorities/subjects/sh85007975 Art et société. ART Criticism & Theory. bisacsh ART History General. bisacsh Art and society fast Art, Modern Themes, motives fast |
| topic_facet | Art, Modern Themes, motives. Art and society. Art et société. ART Criticism & Theory. ART History General. Art and society Art, Modern Themes, motives |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1195734 |
| work_keys_str_mv | AT gillickliam works AT gillickliam industryandintelligencecontemporaryartsince1820 |