Modern art despite modernism
- 作者: Storr, Robert.
- 其他作者: Museum of Modern Art (New York, N.Y.)
- 出版: New York : Museum of Modern Art :Distributed by H.N. Abrams 2000.
- 稽核項: 247 p. :chiefly ill. (all col.) ;31 cm.
- 標題: Art, Modern , Art, Modern 20th century -- Exhibitions. , Art , Museum of Modern Art (New York) , Art 20th century -- Expositions. , Kunstreceptie. , Art 20th century. , Museum of Modern Art (New York, N.Y.) Exhibitions. , Museum of Modern Art (New York, N.Y.) , Visual arts.
- ISBN: 0870700340 , 9780870700347
- 附註: Includes index. Drawing Lesson I -- Foreword -- Preface & acknowledgments -- Modern art despite modernism. pt. 1. Typologies & twists ; Heads ; pt. 2. Backward march! ; Femmes fatales ; pt. 3. Fences Down -- Plates. The School of Paris ; Surrealism ; Metaphysical painting & Valori plastici ; Neue Sachlichkeit & German figuration ; Neo-romanticism ; British figuration ; Latin American figuration ; Depression era realism & the American scene ; Postwar European figuration ; Postwar figuration in the Americas ; Post modernism ; Drawing Lession II -- Index of illustrations -- Credits.
- 系統號: 005199530
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Throughout the 20th century, the evolution of mainstream modernism in the arts has been shadowed and complicated by alternative expressions, intended either to set back the clock or to redirect the stream of "progress". This book, published in conjunction with the second of three cycles of millennial exhibitions (MoMA2000) at The Museum of Modern Art, New York, explores the anti-modernist impulse as exhibited in painting and sculpture through the social, political, and cultural conflicts of the 1920s, 1930s, and 1940s. Curator Robert Storr reminds the reader of the strengths of some of this work -- by Otto Dix, Lucien Freud, Francesco Clemente, and even Pablo Picasso -- and of the enduring popularity of such artists as Pavel Tchelitchew, whose Hide and Seek, along with Andrew Wyeth's Christina's World, are among the public's favorite pictures. Storr also discusses taste and vulgarity and their implications, both past and present, for institutions like The Museum of Modern Art that are thought of as canon-builders.
來源: Google Book
來源: Google Book
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