Download Art: Key Contemporary Thinkers by Diarmuid Costello, Jonathan Vickery PDF

By Diarmuid Costello, Jonathan Vickery

The previous couple of a long time have witnessed an explosion in principles and theories on artwork. artwork itself hasn't ever been extra renowned, yet a lot contemporary considering continues to be inaccessible and tough to take advantage of. This publication assesses the paintings of major thinkers (including artists) who're having an immense impression on making, criticizing and reading paintings. every one access, written via a number one overseas specialist, offers a concise, severe appraisal of a philosopher and their contribution to considered artwork and its position within the wider cultural context. A advisor to the most important thinkers who form today's global of artwork, this ebook is an important reference for an individual attracted to glossy and modern artwork, its heritage, concept, philosophy and perform.

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Extra resources for Art: Key Contemporary Thinkers

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These combine photographs, often culled from 1940s and 1950s photoannuals and instruction manuals, with provocative slogans in Futura Bold Italic font. They have appeared on posters, billboards, magazine covers, book jackets, bags, T-shirts and mugs, in galleries and outside in various 25 urban settings. g. John Heartfield, Soviet Constructivism), they also invoke the tactics of commercial design. Kruger’s art career began in the late 1960s when she made crocheted and sewn hangings for gallery display.

As construed by Greenberg and Fried, modernist painting and sculpture is eminently self-reflexive; that is, such art eschews all illusory spatial effects and references to anything outside the fact of its material constitution, be it painting or sculpture. This was seen by some Conceptual artists to be an impoverished self-reflexivity, one that prevented artists from understanding how art ‘means’. With its repetitive geometric motifs, relative lack of internal complexity, emphasis on media specificity, and opulent use of colour, formalist paintings and sculptures were disdained as meaningless objects whose very lack of complexity and detail presented JOSEPH KOSUTH a blank screen upon which critics could ratify their narrow taste.

Nevertheless there are some common themes. In the most general terms, Smithson’s worldview may be described as anti-humanist, in the sense that he sought to refute explanations of the world, history, nature, self, art and so on that were premised on the centrality of the human or the category of ‘man’ (cf. MICHEL FOUCAULT). This outlook manifested itself in several registers in Smithson’s thinking. One of the most important of these was in what may be called his materialism, his emphasis on the priority of the material over the human.

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