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How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters th...
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"Robert Irwin, perhaps the most influential of the California artists, moved from his beginnings in abstract expressionism through successive shifts in style and sensibility, into a new aesthetic territory altogether, one where philosophical concepts of perception and the world interact. Weschler has charted the journey with exceptional clarity and cogency. He has also, in the process, provided what seems to me the best running history of postwar West Coast art that I have yet seen."—Calvin Tomkins
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In the 1960s, a group of Los Angeles artists fashioned a body of work that has come to be known as the “LA Look” or West Coast Minimalism. Its distinct aesthetic is characterized by clean lines, simple shapes, and pristine reflective or translucent surfaces, and often by the use of bright, seductive colors. While the role of materials and processes in the advent of these truly indigenous Los Angeles art forms has often been commented on, it has never been studied in depth — until now. Made in Los Angeles focuses on four pioneers of West Coast Minimalism — Larry Bell, Robert Irwin, Craig Kauffman, and John McCracken — whose working methods, often borrowed from other industries, feat...
An intriguing and vibrant study of an innovative and lesser-known facet of contemporart art. Identifies significant strategies exploited by European artists to extend their aesthetic vision within the mediums of prints, books and multiples. Exploring commercial techniques, confrontational approaches and language and the expressionist impulse. Showcases the creativity being channelled into printed art by todays generation.
'Studio' presents an extraordinary anthology of visual and verbal insights into the way paintings are made, and the complex blend of motivation and inspiration that sustains the painter in his or her solitary search for meaning.
An essential text in the field of contemporary art history, it has now been updated to represent 30 countries and over 100 new artists. The internationalism evident in this revised edition reflects the growing interest in contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.
At an early age, P. K. Page/Irwin displayed an aptitude for illustration, and even her juvenalia indicated a sharp, painterly eye. But it wasn’t until she visited Brazil in the 1950s as wife of the Canadian ambassador, that she began to hone her artistic practice. Under her married name, P. K. Irwin, she produced a wide array of paintings, drawings and other artworks, experimenting with media and styles as she sought to develop her own visual aesthetic, and to reconcile her celebrated poetic identity with her more private, painterly one. In The Art of P. K. Irwin, Michèle Rackham Hall investigates the artist’s creative development and examines the exotic locales and the wealth of accomplished peers who helped shape Irwin’s artistic output. With rich biographical detail and extensive reference to Irwin’s lyrical life writing, The Art of P. K. Irwin takes readers along on the artist’s journey toward her own aesthetic, one in which "place was her most potent muse, and exile her most fertile state."