Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource (209 p.)

ISBN: 0-231-54096-5

Series Statement: Bampton Lectures in America

Content: The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art.In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art's engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists 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.

Note: Description based upon print version of record. , Frontmatter -- , Contents -- , Acknowledgments -- , Introduction: Creative Disruption in the Age of Soft Revolutions -- , 1. Contemporary Art Does Not Account for That Which Is Taking Place -- , 2. Projection and Parallelism -- , 3. Art as a Pile: Split and Fragmented Simultaneously -- , 4. 1820: Erasmus and Upheaval -- , 5. ASAP Futures, Not Infinite Future -- , 6. 1948: B. F. Skinner and Counter-Revolution -- , 7. Abstract -- , 8. 1963: Herman Kahn and Projection -- , 9. The Complete Curator -- , 10. Maybe It Would Be Better If We Worked in Groups of Three? -- , 11. The Return of the Border -- , 12. 1974: Volvo and the Mise-en-Scène -- , 13. The Experimental Factory -- , 14. Nostalgia for the Group -- , 15. Why Work? -- , Notes -- , Index , Issued also in print. , English

Additional Edition: ISBN 0-231-17020-3

Language: English

Keywords: Electronic books.

DOI: 10.7312/gill17020

URL: https://doi.org/10.7312/gill17020

URL: Click to View

UID:

Format: xv, 140 Seiten, 50 ungezählte Seiten Bildtafeln , Illustrationen

ISBN: 9780231170208

Series Statement: Bampton lectures in America

Note: Includes bibliographical references and index

Additional Edition: Erscheint auch als Online-Ausgabe ISBN 978-0-231-54096-4

Language: English

Keywords: Kunst ; Wissenschaft ; Technischer Fortschritt ; Politik ; Ästhetik ; Geschichte 1820-2014

URL: Inhaltsverzeichnis

Author information: Gillick, Liam 1964-

UID:

Format: 1 online resource : , 50 b&w illustrations

ISBN: 9780231540964

Content: The conceptual artist Liam Gillick writes a holistic genealogy of contemporary art, arguing 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.

Note: Frontmatter -- , Contents -- , Acknowledgments -- , Introduction: Creative Disruption in the Age of Soft Revolutions -- , 1. Contemporary Art Does Not Account for That Which Is Taking Place -- , 2. Projection and Parallelism -- , 3. Art as a Pile: Split and Fragmented Simultaneously -- , 4. 1820: Erasmus and Upheaval -- , 5. ASAP Futures, Not Infinite Future -- , 6. 1948: B. F. Skinner and Counter-Revolution -- , 7. Abstract -- , 8. 1963: Herman Kahn and Projection -- , 9. The Complete Curator -- , 10. Maybe It Would Be Better If We Worked in Groups of Three? -- , 11. The Return of the Border -- , 12. 1974: Volvo and the Mise-en-Scène -- , 13. The Experimental Factory -- , 14. Nostalgia for the Group -- , 15. Why Work? -- , Notes -- , Index , In English.

Language: English

DOI: 10.7312/gill17020

URL: https://doi.org/10.7312/gill17020