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British Art in the Cultural Field, 1939-69 by Lisa Tickner,David Peters Corbett Pdf
Informed by new research, this rich collection of thought-provoking essays presents a fresh assessment of British Art in the Cultural Field, 1939–69, locating influential artists, movements, institutions, and individual works against the changing economic and cultural landscape to shed new light on this seminal period in British art history. International art historians explore many different aspects of the period which saw post-war austerity, decolonisation, and the birth of postmodernism Takes a variety of approaches, from the broad canvas of the political economy of art to closely attentive readings of individual artists and works, from Bacon to Stirling, and the Independent Group to Pop Art Invaluable for students and scholars of the field, as well as general readers, including the growing number of collectors of twentieth-century British art
Pop Art and Beyond by Mona Hadler,Kalliopi Minioudaki Pdf
Pop Art and Beyond foregrounds the roles of gender, race, and class in encounters with Pop during the Long Sixties. Exploring the work of over 20 artists from 5 continents, it offers new perspectives on Pop's heterogeneity. Featuring an array of rigorous chapters written by both acclaimed experts and emerging scholars, this anthology transcends the borders of individual and national contexts, and suspends hierarchies creating a space for the work of artists like Andy Warhol and the women of the Black Arts Movement to converse. It casts an inclusive look at the intersectional complexities of difference in Pop at a moment that gave rise to a plethora of radical social movements and identity politics. While this book introduces revelatory non-canonical artists into the Pop context or amplifies the careers of others, it is not limited to the confines of fine art. Chapters explore the intersecting variables of oppression and liberation in rituals of youth subcultures as well as practices across media with Pop sources and parallels ranging from Native American objects, Harlem advertisements, and Cordel literature, to stand-up comedy, music, fashion, and design. Pop Art and Beyond thus widens the conversation about what Pop was and what it can be for current art in its struggle for social justice and critiques of power.
Portuguese Artists in London by Leonor de Oliveira Pdf
This book centres on four Portuguese artists’ journeys between Portugal and Britain and aims at rethinking the cultural and artistic interactions in the post-war Europe, the shaping of new identities within a context of creative experimentalism and transnational dynamics and the artistic responses to political troubles. Leonor de Oliveira examines the contributions of the work of Paula Rego, Barto dos Santos, João Cutileiro and Jorge Vieira, among other artists, to shape referential images of Portuguese identity that not only responded to the purpose of breaking with dominant iconographic and aesthetic representations but also incorporated a critical perspective on contemporaneity. This title will appeal to scholars interested in art history, Portuguese and European art, and the mid-twentieth-century art scene.
British Art in the Nuclear Age by Catherine Jolivette Pdf
Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and ?gr?rtists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.
Art and Masculinity in Post-War Britain by Gregory Salter Pdf
In this book, Gregory Salter traces how artists represented home and masculinities in the period of social and personal reconstruction after the Second World War in Britain. Salter considers home as an unstable entity at this historical moment, imbued with the optimism and hopes of post-war recovery while continuing to resonate with the memories and traumas of wartime. Artists examined in the book include John Bratby, Francis Bacon, Keith Vaughan, Francis Newton Souza and Victor Pasmore. Case studies featured range from the nuclear family and the body, to the nation. Combined, they present an argument that art enables an understanding of post-war reconstruction as a temporally unstable, long-term phenomenon which placed conceptions of home and masculinity at the heart of its aims. Art and Masculinity in Post-War Britain sheds new light on how the fluid concepts of society, nation, masculinity and home interacted and influenced each other at this critical period in history and will be of interest to anyone studying art history, anthropology, sociology, history and cultural and heritage studies.
Concerning Stephen Willats and the Social Function of Art by Sharon Irish Pdf
This book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design. For Willats, a cluster of concepts about control and feedback within living and machine systems (cybernetics) offered a new means to make art relevant. For decades, Willats has built relationships through art with people in tower blocks, underground clubs, middle-class enclaves, and warehouses on the Isle of Dogs, to investigate their current conditions and future possibilities. Sharon Irish's study demonstrates the power of Willats's multi-media art to catalyze communication among participants and to upend ideas about “audience” and “art.” Here, Irish argues that it is artists like Willats who are now the instigators of social transformation.
"Marketing Art in the British Isles, 1700 to the Present " by Charlotte Gould Pdf
A cultural history of the first truly modern art market, Marketing Art in the British Isles, 1700 to the Present furthers the burgeoning exploration of Britain's struggle to carve a niche for itself on the international art scene. Bringing together scholars from the UK, US, Europe, and Asia, this collection sheds new light on such crucial notions as the internationalization of the art market; the emergence of an increasingly complex exhibition culture; issues of national rivalry and emulation; artists' individual and collective strategies for their own promotion and survival; the persistent anti-commercialism of an elite group of art lovers and critics and accusations of philistinism levelled at the middle classes; as well as an unquestionable native British genius at reconciling jarring discourses. Essays explore the unresolved tension between artistic aspirations and commercial interest - a tension that has come to shape Britain's national artistic tradition - from the perspectives of artists, dealers and (super-) collectors, and the upwardly mobile middle classes whose consumerism gave rise to the British art market as it is known today. Specific case studies include Whistler, Roger Fry, Damien Hirst, and Charles Saatchi; essays consider art markets from London and Manchester to Paris and Flanders.
From Space in Modern Art to a Spatial Art History by Jutta Vinzent Pdf
This book traces artists’ theories of constructive space in the first half of the twentieth century. Drawing on these concepts and recent theories on space, it develops a methodology termed ‘Spatial Art History’ that conceives of artworks as physical spatio-temporal things, which produce the social, to overcome the reductive understanding of art as a mere mirror or facilitator of society.
This study reassesses modern architecture and town planning in mid-twentieth-century England, highlighting ideas and debates that were in circulation as modernist ideals gradually took root. The book reveals an architectural culture that was serious, active, and visionary, with impact that extended into the postwar years. Through close studies of specific works and writings, the author acknowledges the importance of the international context of modern architecture as it intersected with the variety of narratives that defined English modernism, such as national identity, the New Empiricism, and the picturesque, taking into account the large community of émigré architects who settled in England with the approach of World War II, as well as a more general dissemination of international style forms and theories from continental Europe. The book places familiar figures such as Berthold Lubetkin and Ernö Goldfinger, as well as projects such as Tecton’s Penguin Pool and the Festival of Britain’s “Live Architecture” Exhibition, in new light, presenting a rich picture of the modern architectural climate in England. The study draws attention to the debates, proposals, and processes that fed into the development of modernist, urban-minded, and forward-looking architectural ideals.
Abstraction in Post-War British Literature 1945-1980 by Natalie Ferris Pdf
In a catalogue note for the 1965 exhibition 'Between Poetry and Painting' at the Institute of Contemporary Arts, the poet Edwin Morgan probed the relationship between abstraction and literature: 'Abstract painting can often satisfy, but "abstract poetry" can only exist in inverted commas'. Language may be fragmented, rearranged, or distorted, abstract in so far as it is withdrawn from a particular system of knowledge, but Morgan was of the mind that to be wholly 'disruptive' was to deprive a poem of its 'point' as an 'object of contemplation'. Whilst abstract art may have come to fulfil or or fortify an impression of post-war taste, abstraction in literature continued to be treated with suspicion. But how does this speak to the extent to which Britain's literary culture was responsive to progress compared to its artistic culture? Abstraction in Post-War British Literature 1945-1980 traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke- Rose, as well as by groups of practitioners. It brings a wide range of previously unexplored archival material into the public domain and offers a comprehensive account of the evolving status of abstraction across cultural, institutional, and literary contexts.
Sexual Revolutions explores the sexual revolution of the late twentieth century in several European countries and the USA by engaging with themes from sexual freedom and abortion to pornography and sexual variation. This work discusses the involvement of youth, feminism, left, liberalism, arts, science and religion in the process of sexual change.
Community spaces by Harnack, Maren,Haumann, Sebastian,Berkemann, Karin,Tvrtkovic, Mario,Wolf, Tobias Michael,Herold, Stephanie Pdf
Large housing estates of the post-war era have shaped the face of many cities throughout Europe. In the original plans of the 1950s-1980s they were to amend the urban structure and in many cases they were expected to enable a superior form of communality and urbanity. The estates were built to ease the housing shortage, but were also thought to quite literally become the home for a “new society”, be it under socialist regimes or the democratic welfare state. The reformation of society was expected to be supported by the environment of the newly built estates and, most crucially, their community spaces. The different manifestations of these community spaces were the subject of the second conference of the 45plus network, which took place in Darmstadt in September 2012 and which is documented in this volume. By focusing on community spaces, such as community centers, schools, churches, hospitals, shopping districts but also parks, open spaces and sport-grounds, the contributions to the conference addressed spaces that were thought to be particularly important points of identification for the “new societies” these estates were expected to foster. Community spaces were planned in order to hold the housing estates together – as well designed and attractive built environments, as social hubs and especially as symbolic anchors. Quite often, they boasted prominent design features, intended to serve as recognisable markers of the estates and their programmatic subtexts. While planners and politicians conceptualized community spaces with their potential to shape identification in view, communities tended to appropriate such spaces in different ways and to reinterpret their meanings. In short, local inhabitants – as well as the broader public – possibly identified with community spaces, their individual features and with the ideas and practices they associated with them in significantly different ways than originally intended. Today, the continuing tension between intention and appropriation of community spaces can be understood as an indicator of identification processes and appears to be one of the major challenges in the redevelopment of large housing estates, but might also provide unexpected opportunities. Großwohnsiedlungen der Nachkriegszeit haben das Gesicht vieler Städte in ganz Europa geprägt. Ursprünglich sollten diese Planungen der 1950er bis 1980er Jahre die Stadtstruktur verbessern und teilweise auch eine neue Form von Gemeinschaftlichkeit und Urbanität schaffen. In erster Linie zur Linderung der Wohnungsnot gebaut, wurden die Siedlungen auch als buchstäbliche Heimat für eine "neue Gesellschaft" geplant, sei es unter sozialistischen Regimes oder im demokratischen Wohlfahrtsstaat. Die Umgestaltung der Gesellschaft sollte durch die Gestaltung der neuen Siedlungen unterstützt werden, wobei den gemeinschaftlich genutzten Räumen ein besonderer Stellenwert zukam. Die verschiedenen Ausformungen dieser Räume waren Gegenstand der zweiten Konferenz des 45plus-Netzwerk, die in Darmstadt im September 2012 stattfand und in diesem Band dokumentiert wird. Durch die Fokussierung auf gemeinschaftlich genutzte Räume wie Parks, Freiflächen und Sportplätze, aber auch Gemeindezentren, Schulen, Kirchen, Krankenhäuser, Einkaufsstraßen, stellen die in den Beiträgen der Konferenz angesprochen Räume wichtige Identifikationspunkte der "neue Gesellschaften" dar. Gemeinschaftliche Räume wurden geplant, um die neuen Wohnsiedlungen zusammenzuhalten – als gut gestaltete und attraktive gebaute Umwelt, als soziale Scharniere und vor allem als symbolische Anker. Oft setzten sie prominente Gestaltungsmerkmale um so als Symbole der Siedlungen und ihrer programmatischen Subtexte zu dienen. Während Planer und Politiker die gemeinschaftlichen Räume mit dem Fokus auf ihr Potenzial als Ort der Identifikation gestalteten, wurden diese Räume durch die sie nutzenden Gemeinden in unterschiedlicher Weise angeeignet und auch uminterpretiert. Kurz gesagt, Bewohner – wie auch die breite Öffentlichkeit – verstanden, interpretierten und nutzten die gemeinschaftlichen Räume und deren individuellen Eigenschaften möglicherweise auf deutlich andere Art und Weise als ursprünglich geplant. Heute können die anhaltenden Spannungen zwischen Absicht und Nutzung der gemeinschaftlichen Räume als Indikator für Identifikationsprozesse verstanden werden und stellen gleichzeitig eine der großen Herausforderungen bei der Sanierung von Großwohnsiedlungen dar, offenbaren jedoch vielleicht auch unerwartete Chancen.
A Companion to British Art by David Peters Corbett Pdf
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
Reyner Banham and the Paradoxes of High Tech by Todd Gannon Pdf
Reyner Banham and the Paradoxes of High Tech reassesses one of the most influential voices in twentieth-century architectural history through a detailed examination of Banham’s writing on High Tech architecture and its immediate antecedents. Taking as a guide Banham’s habit of structuring his writings around dialectical tensions, Todd Gannon sheds new light on Banham’s early engagement with the New Brutalism of Alison and Peter Smithson, his measured enthusiasm for the “clip-on” approach developed by Cedric Price and the Archigram group, his advocacy of “well-tempered environments” fostered by integrated mechanical and electrical systems, and his late-career assessments of High Tech practitioners such as Norman Foster, Richard Rogers, and Renzo Piano. Gannon devotes significant attention to Banham’s late work, including fresh archival materials related to Making Architecture: The Paradoxes of High Tech, the manuscript he left unfinished at his death in 1988. For the first time, readers will have access to Banham’s previously unpublished draft introduction to that book.
